os : Caainy ny : : 
M.Knoedler&Co., 
14 East 57th St. | 


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= yy # Ais, re : ” 


7H) 


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Sige his Od Faas 2 rap \, 
Re rthark pa “tA 
ta ae fi een 
5 teas TS yet e . 
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, PROG ‘yaa 


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Ce 
ON FREE PUBLIC view. /J 64% 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING SATURDAY, APRIL 19Tu, 1919 
AND CONTINUING UNTIL THE DATE OF SALE 


VALUABLE 
ORIENTAL ART TREASURES 


FROM THE COLLECTION OF THE LATE 


CHARLES STEWART SMITH 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


_ BY DIRECTION OF THE HEIRS 


ON FRIDAY AND SATURDAY AFTERNOONS 
APRIL 25TH AND 26TH 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


BEGINNING EACH AFTERNOON AT 2.30 O’CLOCK 


No, 429—TALL BRILLIANT SANG-DE-BCEUF VASE (Lang-Yao) 


CATALOGUE 


OF THE VALUABLE 


ORIENTAL ART TREASURES 


COLLECTED BY THE LATE 


CHARLES STEWART SMITH 


OF NEW YORK CITY 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY DIRECTION OF THE HEIRS 


ON THE AFTERNOONS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 
MADISON SQUARE SOUTH, NEW YORK 
1919 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either de- 


cide the same or put up for re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the pur- 
chase money as may be required, and the names and addresses of 
the purchasers shall be given immediately on the sale of every lot, 
in default of which the lot so purchased shall be immediately put 
up again and re-sold. 

Payment of that part of the purchase money not made at 
the time of sale shall be made within ten days thereafter, in de- 
fault of which the undersigned may either continue to hold the 
lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or 
private sale, and without other than this notice, re-sell the lots 
for the benefit of such purchaser, and the deficiency (if any) aris- 


ing from such re-sale shall be a charge against such purchaser. 


4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 
9 A. M. and 1 P. M., and on other days—except holidays— 
between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and only 
on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 


of any purchase during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Asso- 
ciation of the correctness of the description, genuineness or au- 
thenticity of any lot, and no sale will be set aside on. account of 
any incorrectness, error of cataloguing, or any imperfection not 
noted. Every lot is on public exhibition one or more days prior 
to its sale, after which it is sold “as is”? and without recourse. 

The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly cata- 
logued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby would 
become responsible for such damage as might result were his 


opinion without proper foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South. 


' 5—Whuite Hirano Porcenain Netsuke PROS vig 
ee ¢< Monkeys and chestnut. Eighteenth century./ e 


FIRST AFTERNOON’S SALE 
FRIDAY, APRIL 25, 1919 | | 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O'CLOCK 


WOOD NETSUKES AND CARVINGS 


1—Two Hrrapo Porcetaw NEtTsvuKEs 


(a) The amused Gama Sennin, with movable toad. e 
drapery of the figure has yellow, green and purple enamels. 
y O- ‘<Eighteenth century. 


(se) Representing Gama Sennin and his toad. 


2—Hiravo Porcerain Nersuxe OX (9 VO, | 
fed 4* Form of a persimmon. Eighteenth century. 

3—WuitE Hirapo Porcetain NETSUKE ~. % [9 
/ (42 Rats and rain hat. Eighteenth century. a att 


4—Wuttk Hirapo PorcetaiIn NETSUKE 
a ire a 


-_ 


¢/ “— Cherry blossom. Eighteenth century. 


} va | 

6—Two Woop NEtTsvuKES Y he ; 
i oe (a) Rat. By Kazuaki or Itshimin. (Without marks) / . ) Roe | 
oat / 
/ 


(zs) A coiled rat. Signed: Kazuaki. (] 


7—Two Woop NETsuKEs — 
Lh ec (A) Walnuts, or ginnan nuts (gingo bilboa), and chestnut. & 4 
— By Issan. 
(s) Rat and pumpkin. Without mark. 


First Afternoon 


8—Two Woop NEtTsvUKES we 00 Po ae 


y en (a) Double masks. By Noriaki or Noritami (?). 


“=~ (s) Group of nine “No” masks. Signed: Masanao. 


9—Two Rare Woop NETSUKES Nprooncce de a 
isti By Riu 


(a) Demon twisting bamboo. 


/ ae (8) Grinning Nio mask. By Toun. 


10—Two Woop NetsvKEs ce i 
(a) Rai-jin, “The Thunder Demon.” a 


[oe — (x) Young owls and hollow tree. 


11—Two Woop NEtsvkEs @.: Rex 
(a) Nara Temple mask of Hangya. 


ok ‘__ (8) Nara mask of Gedo. 


12—Two Woop NeEtsvuKEs w ‘ 
Ep e° (a) Round mask of Otafuku. By Toyen of Nara. 
‘ ~ 
(s) Nara mask of Hiottoko. 


13—Two Woop NETSUKES te “ 


(a) Nara mask of one-horned demon. 


JU ‘—- (n) Nara mask of aged Gedo, by Toyen. 
g Janu 


14—Two Woop NetsuKEs rr é 
i (a) Nara mask of old demon. 
Esme (s) Nara mask of impish Gedo. (Atelier of Miva.) 


—Two Woop NETsUKEs 
/ y+ (a) Nara mask of Gedo (horrified). : 
(B) Nara mask of impish Gedo. (Atelier of Miva.) 


Y ae 16—TIwo Woop NEtsvuKEs ane nes . 


(a) Dwarfs (Kobitojima) ha pumpkin. By Jig- 
~~ yoku: 


(8) Blind man lifting stone. Signed by Riukéi. 


First Afternoon 


17—Two Woop NertsukEs Sf. Deas 


(a) Cicada-shell and Icho (acorn and beetle). By Riukéi. 
v4 f .« (8) Shinno (the celebrated physician). With gourd. “By 


Joriu. 


18—Two Woop NEtsuKEs Tecoma 
(a) Frog and straw sandal. By Tadakazu. 


fel — (3) A Deva king wearing a sandal. Signed by Riukéi, 


} 19—Two Woop NETSUKES erties 
oe | (a) Frog and lotus leaf. By S 
; Et Y* (xs) Kappa with toad on aie shell. Signed by Gyo- 


kumin. 


Rh. (CCDS 
20—Two Woop NEtTsvuKEs Ce. 


(a) Mill-stone worker or mason. Signed Jobun. 


iy) _ (B) Fisherman whose loin-cloth is held by a giant clam. 


21—Two Woop NEtTsvKEs 
(a) Two rats and pumpkin. By aes 4 (3, ohh 
aku 


. fof eed (8) Carved in form of a traveling tinker. Mark: R 


D> 
22--Two Woop NETSUKES P 


(a) Blind shampooer. (Amma.) WAGE 
. fF “ _(s) Demon and a priest’s tokko (baton). Signed fe Beiun. 


ETSUKES Sh (plh 


iO ce (a) Shoki (The Demon-slayer) applying moxa to demon; 
ivory inserted mark. By Hojitsu. 
(zs) Round mask of Ota-fuku with bug. By Kakutei. 


24—Two Woop NETSUKES q \o /) va 
(a) Mice. By Masatoshi. -T Umargy 
fr “—  (n) Two Puppies. Signed by Tamatoshi. 


First Afternoon 


25—Two Woop NetsuxeEs (2 Wig beeen : 


~ 


Jif » (A) Kyl couchant. Signed by Issa. 
(s) Frog and sandal. Signed by Masanao. 


26—Woop Masx or Orp Man ar: Carle 


aS Signed with private marks. ve 
U 


_— 


27—JapaNnEsE Woop NETSUKE AND Wego. Box 
With crane decoration; interior holds group of ivory tur- — 


| Ve nee tles, 


28—Woop NETSUKE 
a ya Openwork with the Twelve Signs of the Zodiac. Sukenaga. 


ce v 


= 


29—Woop NETSUKE —- 
tol Signed by Sadaaki.” we 


{> -- Group of tortoises. 


30—Rare Woop NEtTsvuKkE y 
The Seven Gods of Happiness (shi-chi- tale Gee 


o7 4 sanao. ' 


31—Smatt Woop Ficuret 7 
G faa: Seated, with Dog Fu in relief, and surmounted by ixory 


head. 
Height, 2% inches. 


32—-CarveD Woop Oximono Th CR: - essa, 


. f Representing a seated rat nearly natural size. With chest- 
“f “—— nut and bead eyes. : 
Height, 314, inches. 


38—OLp JAPANESE Woop Povucu \ VA 


/ ct With inlaid pear-wood and ivory | busts, representing / a 
Samurai and his retainer. School of Ritsuo; bears inser 
tion and seal of artist. Furuyama, Matasakio. 


Height, 3% inches by 4 inches. 


First Afternoon 


IVORY NETSUKES AND CARVINGS 


eee /} 
34—Two Ivory NersvuKEs SK ead U i : 
(a) The youth Momotaro and a Demon. By Riu-chin. 
rs y, <* (s) Carved in form of three rabbits. Signed by Ruiusai. 


85—Two Ivory NETSUKES | ai 
(a) Carved in form of toy dog on War. 
(s) Hokai (seat for “No” dancers). 


/Q 
36—Two Ivory Nersuxes (| 

(a) Kannushi polishing the Suzu bell. “By Shuo-sai. ) 

aa «+ (Bp) Demon cleaning bell. Without mark. 

1 = Be 


87—Two Ivory NeETSsUKES a) 


{ 


(a) Group of monkeys. Signed Okatomo. 
/ eee (3) Monkey and Fugu fish. Unsigned. 


~ 88—Two Ivory NEtsvxKEs : oe tee 6 g ; eal 


(a) Group of mice. Signed: Tomo-chika. 
O74 ‘t.. (8) Boat and figures. Signed by persiusay: 
( 


39—Two Ivory NETsuUKES ip Wren“ 


ee »« (A) Carved in form of an octopus chitching a man. 


(s) Sambasa mask of Okina. 


40—-Two Ivory NETSUKES 4 elena 


6 J (a) Grinning round faced mask. B omin. 
bs 
ka, 
ZA 


rae ; Made of hoten, or cheek bone of a s ork. Showing natural 
Pac -colors. Mark of Shojo (Wine-bibber). Signed: Ono 


aa Fh Nao hbluvhuy 


42—_NETSUKE OF 'TORTOISE-SHELL AND Ivory fo 


(se) Mask of demon. Signed: Hogyoku. 


41—RareE NETSUKE 


Showing a snail on bamboo. By Hojitsu. ( 


//*— 


First Afternoon 


43—Two Ivory NEtTsuKEs } 
les (a) Benkei carrying the Miudeya bell. By Toy 
ca —~ (8) The magic Chagama pot. Signed by Mitsu-sada. 


44—Two Ivory NEtTsuKEs ie Oban 


( se (A) Mask of Otafuku. Signed: Horiu. 
ee 


asa. 


(zn) Representing a mouse and sheaves of wheat. 


45—Ivory NEtTsuxe a 5 C(Saee 


/ we Rabbit and rooster beside a drum. 


46—Ivory NETSUKE 
i jt The magic Chagama pot and 
ko-sal. 


47—Two Ivory NeEtsuxKEs J ge batt. 


a A) Pheasant on bough. Signed by Mitsuhiro. 
} a te g 8 nf 
Yat (3) Hatching Tengu. Signed by Masakazu. 


48—Two Ivory Netsuxss (2. tie 


7 / (a) Representing a monkey and toad. 


~ (8) Rat and bean. Signed: Okatomo. 


49—Two Ivory NetsvuKEs yi, 


(a) Carved in form of sage, withUarge forehead, ex 


ot GY ‘—— a scroll. 


(8) Child and Ox. By Keimin(?) 


50—-T'wo Smartt Ivory NeEtsuKEs Wis Wah: 


/ Ho (a) Representing a mouse on broom. 


(3) Figure of an old poet and his wine jar. 


51—Two Ivory Netsvuxrs Fn ne Z (3 4 


(a) Representing a cat ‘dressed in a kimono. 
[Gos F 
— (8) God of Plenty and boy attendant. Signed. 


First Afternoon 


52—Two Ivory NEtsvukeEs Binet et/ 


(a) Hotei (the God of Prosperity) an page : ) 
re (8) Rat on hat. 


538—Two Burron-sHarep Ivory NETSUKES 
(a) Masks of Otafuku, Demon and eae 


e ce (s) Carved with the Twelve Signs of the 
yoku. 


Ze 54OnrE Smatut Ivory anp Ont Bone Mask Ce aeeatane 


Of woman and man. 


odiac. By pesias 


55—Two Butrron-sHArEeD Ivory NETSUKES 


a (dt (a) Mask-carver. vie 


~— (8) (Kagami-buta.) With gold- Silos crest (dnd flow er(/ 


56—THREE i@anrsi Ivory Poucn BurTrTrons ee og 


Ys a te PANELS 
— (a) Showing figure of Kwan-non in gold es, Ly eke, at / 
(zn) Copper-colored figure of a coolie. Sioned’ KS artist. 


(c) Figure of a temple Deva; chiseled in relief. Without » 
mark. Date 1780. 


57—Two Ivory NETsUKES O& Ratt VA 
EF «+ Masks of demons. 


= 58—Ivory NETSUKE (BuTron) Ok p55 Wea. 
uv 


~~ ‘Seiyobo and Genius. By Meikeisai Hojitsu. 


) ; 
59—Ivory Netsuke (Burton) Ceo has a? 
~ <*  Kintaro scattering beans to exorcise Benen By Meikeisai ¢ 
Hojitsu. 


60—Ivory Netsuke (Burton) 
[fi Yoritomo releasing storks. By Ono Rio-min. 


61—Ivory NETsuKE 
Form of fruit with stem. Signed: Mitsushiro. 


e¢ 
Neos 


First Afternoon 


62—Ivory NETSUKE x bo Vin Lhe 
By(Hok 


Ji. ,,.. Group of seven “No” masks. u-unsal. 
ss 


63—Two Smartt JAPANESE Ivory Neos 
(a) Representing dog and leaf. / 
/ Be — (8) Goat. Signed Kaigyokusai. 


64—Two JApAanEsE Ivory NETSUKES Fe haan 


(a) Form of purse, with gold-lacquer decoration. 


/t- — (8) Carved in form of eight masks. By Rio-min. 


65—Two Ivory NErTsvuKEsS uN t 


[Ge (a) In the form of a bunch of acorns and ginzo nuts, with 
= carved landscape views of ‘‘Yenoshima,” “Kanazawa” and 
“Shichirigahama.” By Giokuho-sai. 
(s) In form of the mythical creatures with es and 
Long-arms. By Tomochika. 


66—Two Ivory NeEtsuxeEs a Morice: 
(B+ 


(a) Carved in form of a tortoise on leaf. “oe 


(B) Persimmon and Woodpecker. Signed by Araku. 


67 


Ivory NETSUKE 


Mythical creatures with Long-arms 


/ «¢ legs (Ashi-naga). By Tomochika.* 


68—Ivory NETSUKE 2 nw 
/ Urashima and the Box of Life. By Mitsutsugu. 


[be 


69—Two Ivory NetsuKEs ad ( Q j : 
(a) Group of 8 “No” masks. Sigtrted: Giokuriosai. 


/¢ c (s) Helmet and mask. Signed by Toyei. 


70—Ivory NETSUKE 
Vif es Quails, Indian corn and hat. Signed: Okatomo. 


J “4 2 
fi 


“s. ee Form of a peach, with interior cay, ed to represent a land- 


First Afternoon 


71—Ivory NeEtsvuKkE Virwnarne da Sie 
oe, re Man and Ox. Signed by ee 


72—Ivory NETSUKE 


ee Children at play. Signed by Rio-min. 


ae ( 


“8—LarcE Ivory NETSUKE = 


SO ce Group of two monkeys clothed with jackets. Si 


74—Ivory NETsuKE = 


Quails and Indian corn. By Okatomo. . os 
poles 


75—Ivory NETSUKE wy 


——— 


scape. Signed. 


i tiete : 
76—Ivory Netsuke Smelt : mt é 


v ss An aged Kylin. By Tomo shika. 
77—Ivory OrnAaMENT ah 
b Ssh volta Wild Bear. By Kaigyokusai ie 


%8—Ivory ALcovE ORNAMENT 


/ eh ¢ we wv 
/ BS +« Child and drum. Signed by Ono. ee 


79—Ivory Box oie Behr 


Sly Design of boat with figures. 


80—Smatit Ivory Group 
eae Faggot-gatherers with their bundles. 


li Height, 21, inchex. 


Ivory FIcure 


o¢ The umbrella mender. WW 
ea Height, 2 inches. 
AZ? 
82—Ivory IncEeNnsE Box LY) 4 . 
y & ,. Rabbit. Signed Kaigyoku. 
é 


First Afternoon | ~ 


In sections with linear reticulations and fretted design. 
/ poe Has a long chain, formed by numerous small monkeys. 
Underneath foot bears a circular “Shou” mark. 


Height (closed), 4 inches. 
84—Smatt ArticuLATED Ivory Crap : 
f vc» Natural size. Stained red. Nineteenth entury 


85—-Ivory Oximono 


fe /+s. Dog of Fo or Kara-shishi. By Haru 


86 
/5 ‘-— Form of wild goose asleep. By Kaigyoku. 


87-——CHINESE Ivory Cup vA Yr btein 4 


ji 2 .~ Carved in low relief, with archaic drdgon, angular feng- 
~ huang and grotesque Fu Dog panels. Late eighteenth cen- 
tuiny: 


Height, 2 Bs, diameter, 31, Ca 
88—Ivory Oxtmono 


Sud -: Bee’s Nest and maple boughs. Re by Joshu. 6 nee 
jured.) 


Ivory Incenset Box as ) h 


This carving received a certificate of merit at the Tokyo Fine Arts 


Exhibition of 1886. Ga C z 
c 
: MANA _ 


89—Ivory anp Gotp LacauERED PrerrumMe Box (Ko 
hie 


4 ‘— Flat shape, with chrysanthemum design in gold and filver. 
Height, 1% inch; width, 2 by 3% inches. 


90—JapaneEsE Pree Case Cas a 
awe Of bone, with silver incrustation; showing a figure and tree, 


together with mark of artist. 
Length, 71, inches. 


91—JapANESE Ivory Poucu Yo. Witte 


ey, ae Basket shape, with ring clasp; gourd{shaped bone netsuke 
and chestnut slide. 


First Afternoon 


S 
92—JapaNeEsE Ivory Carvine (Okimono) 


_, Representing huntsman, with dog/and game. pened) (p 
AA — kei. (Hogiku?) Z | 


Height, 4 inches. 


93—JAaPANESE CarveD Ivory OximMono - t « 


adst Representing actor in role of aged noble, wearing mask and 
~— hat of state, holding infant. 
Height, 31/, inches. 


94— JAPANESE CaArvep Ivory Fieure (Okimono)- & ¢ 

Za Ss? Representing an actor in Samurai role; richly clad and with 
— _ swords. Signed: Shin-riu-sai. 

Height, 5 inches. 


- «€ 
~95—JapPaNESE Carvep Ivory Group : : 


- . Representing two warriors on a rocky mount surrounded 
ae a) 2 by waves, one of whom is kneeling holding a battle axe, the 
— other standing. 

oa, ~ Y Height, 7 inches. 


96— JAPANESE CaRveED, Ivory Oximono eyes [3 
Representing tall rockery infested with the several super- 
Sarre natural and other animals, including a “dragon” a “Dog 
| — of Fu,” a tiger, eagle and monkeys. Eighteenth century. 


Height, 11 inches. 


97—Ivory Censer (Okimono) Clam, a . 


Carved in form of a heron, with beak held upward, in act 

iy -- of swallowing. Interior fitted for perfume. Has small 
cover above the wings of ivory, and shakudo bronze legs, 
resting upon wood base carved to represent stone. Without 
mark. Eighteenth century. 


Height, 17%, inches; width, of base, 7 inches. 


98— JAPANESE Ivory CarvING (Gimonah ey Pe AO 
—., In form of a tortoise (kame), representing one of the super- 
LS ~ natural animals with its stemlike exhalation of silver sup- 
porting an ivory sphere, showing delicately carved interior 

landscape. With teakwood stand. 


Height, 934 inches; width, 6 by 9 inches. 


Z ul 


First Afternoon 


FINE OLD LACQUER y. 
99—JapaNESE LaceuER PERFUME Box caste U 4 
, Flat oblong shape; black ground with gold-lacquered fern 
— design. Interior finished with gold nashiji lacquer. Eigh- 
teenth century. | 
Height, 1% inch; width, 24%, by 8% inches. 
nN 


100—PerrumMeE Box (Kogo) (\ : 


Black ground, with raised gold landscape decoration. In 
ve / e toki-makiye ee Interior finished with gold nashiji lac- 
me eT 
Height, % inch; width, 1% by 21% inches. 


101— Japanese Lacquer PErFuME Box Be: ! 


Flat oblong shape, divided in sections and decorated with 

i / ¢~ butterflies, birds and blossoms; interior finished with wave 
and gold dragon crest motif. 

Hei 


t, % inch; width, 24% inches a | 
| 6 
102—Japanese Buack Lacauer Incenst’ Box (Kogo) 
Cover with fern and floral decoration in gold lacquer, in- 
9) UY 0 cluding mother-of-pearl inlay. Sides show red lacquer with 


gold decoration. Eighteenth century. 
Height, 15% inches; width, 25% inches. 


108—WrnE Cup | Cote P Oa © x ee 


The face is in gold lacquer with “tai” (fish) in high relief, 

ool me swimming among water grasses. ‘The back is in red lacquer. 

—— Mark: Ju-kakusai (a complimentary name). Date, eigh- 
teenth century. (Injured.) 


a 


Diameter, 31/ inches. 
104—Rep LaceuEer Wine Cur ie ; 
Cac Richly decorated with landscape, pavilion and foe in gol 
lacquer. Eighteenth century. , 
Diameter, 4144 inches. 
105—Wine Cup (/> } 
Of red lacquer, with delicately executed landscape in gold. 
°. _—- Eighteenth century. j 


Diameter, 414, inches. 


First Afternoon 


106—Larcr New Yerar’s WINE Cur 2 BS eee Se 


Of red lacquer, with decoration of hawks on perches. Mark: 
f G Fukuji (congratulation). Date, 1800. 
yee 


Diameter, 5 inches. 


| 107—JapanesE Buack Lacaurer INCENSE Boy (. S Stale 


Low flat form; decorated with three fans in gold lacquer, 
- u sa showing plum, pine and bamboo motif. Interior finished in 
nashiji sprinkled gold on black ground. Eighteenth cen- 
tury. 
Height, 1 inch; diameter, 41, inches. 


re 


aq 108—Japanrse Buack Lacever Incense 1 6: Oo 
designs. Interior is covered with gold nashiji; two sides 


7 ay o Quatrefoil shape, decorated with gold-ladquer floral and fern 
1s have rings. Eighteenth century. 


Height, 2 inches; width, 31, by 3%, inches. 


109—Japanese Goitp Laceurer INcENsE Box Si My /O 
oe o- 2s Flat cinquefoil shape, with plum blossoms in tint‘ geld 
~—  taki-makiye relief. Interior in gold nashiji, with plum blos- 
-soms and representation of musical instruments. Early 
eighteenth century. 


110—Gonp-LAcauER Ivro WH i ree LLL. 


With five sections; sustaining carriage and flower motif, 


or ioe with chin-kin-bori and inlaid ground. Interior finished with 
nashijilacquer. Eighteenth century. 
+ \ Wa 7 
111—Goxp-Lacaver Inno (Medicine Case) jamrnnane7TMe On 


Five sections; with mother-of-pearl inlogings showing figure 
and interior of pavilion. Mark: Buyu no ju Kajikawa, no 

ai oy ‘- Saku (made by Kajikawa, living in Tokyo). Eighteenth 
century. | 


112—Bracx Lacever Inpro 


ee Six sections; Imperial carriage and cherry trees decoration 
SS in gold lacquer. By Kajikawa. Date, 1750. 


First Afternoon 


1183—Goxp-LacevuErR Woon Inro 


representing the Rokkasen, 
in mother-of-pearl! inlaying. 


In two sections; with five poets, 
> Xv Komachio, Narihira and others, 


Signed: Kohei. Date, 1780. | | 
114—Gotp-LacauER Section Box For RA. 
With base and open-sided cover; revealing three interior sec- ~ 


a se tions, with landscape views in raised design including tray 
with urn and grapevine decoration. Date, eighteenth cen- 


tury. wis 
Seas Te by 3 inches. 
: OD Van Abd 


115—-JaparsE Goup-LacauER Box (Kiri-Kan) 


Oblong shape, with rounded corners; embellished with land- 

EG dg ‘+ scape in rich kiri-kan gold lacquer of rare quality. In- 
terior in fine gold nashiji lacquer. Late seventeenth cen- 
tury. 


ice by 4 inches. — 
Ne 
116—Bunppuisr Crynapar Lacquer ScEerrex /(Ju-t 


Curved wand, with trefoil fungiform upper end; elaborately 
/ pre carved in red cinnabar (chu-ch’i) lacquer of Peking. The 
design including emblematic fruit of Abundances, .together 
with other symbols of Rank and Honor, amid leafy scrolls 
and borderings. Complete, with yellow silk tassel and cords. ' 
Era of Ch’ien-lung (1736-1795). Has silk-covered stand. ] 
| 
¥ 


Length, 16 inches. 
rv 


117—Cinnapar New YeEar’s Tasrer (Chinese) 
.. Form of a gourd, richly carved in red cinnabar lacquer, with 
oF ~ diaper of floral designs; bearing pearl incrusted dedication 
characters of Good Augury. Era of Ch’ien-lung (17386- 
1795). With metal hanger. (Injured.) 


va Length, 14 inches. 
118—CuHInEsE CrinnaBpar LACQUER kl See 


Square shaped red cinnabar (chu-ch’l) lacquer of Peking 
iS GS” “ deeply carved in floral arabesque designs and fitted wit 
glass panels on the four sides. The upper surface with 
rounded corners sustaining “Shou” emblems of longevity, 


First Afternoon 


[ No. 118-—Continued | 

together with a center medallion which represents an image 
of Lao Tsze, one of the gods of longevity; the remaining 
field, in angular form, displays the eight Buddhist symbols 
(Pa-chi-hsiang) of Happy Augury. The smaller interior 
box, in green and red carved Peking lacquer, is composed of 
three compartments, its uppermost section holding small - 
perfume boxes. Era of Ch’ien-lung (1786-1795). 


Height, 10 inches; width, 8 inches square. 


119—JapanresE Goitp Lacavuer Sraxp 
oe Embellished with chrysanthemum design/ and provided with 


Ae iz j ~ drawer. Late eighteenth century. 


Height, 734 inches; (width, 9 inches 
120—JapanEsE Sworp Rack (Katana Kake) iG Cp styr & 
Lacquered wood, with gold lacquer bird and (diaper pattern 


fs = decoration. 


From the Brayton Ives Dollection, 1891. 


121—JapanEsE Rep anp Brack Lacaurr Si K. nae 
With pearl incrustation in peony design and red serrated 


od ©\_ lacquer bordering, showing diaper motifs. Late eighteenth 


century. 


eae 11 inches. 


Height, 1414 inches; diameter, 18 inches. 


oS GUARDS, KNIFE HANDLES AND SWORD 


MOUNTS 
Mostly from the Captain Brinkley ey Japan 
122—Two Knire Hanpies hito Ave rho 


(a) Shakudo, with nanako shagreened surface. Represents 
Y ~— monkeys stealing a bee’s nest; executed in medium relief and 7 

picked out with gold, shibuichi and copper inlaying. Signed: 

Kanehide. Date, 1760-1790. 

(3) Copper. The design, chiseled in high relief and picked 

out with shibuichi, silver and gold, represents a figure danc- 

ing the “No.” Date, 1840. (Probably by Nobuyoshi.) 


First Afternoon 


123—Two Knire Hannes S ‘ Vy 


(a) Copper, with shibuichi back. The obverse side show 

the god Hotei and a child; chiseled in strong relief an 
yi Oo %-_ picked out with gold inlay. Signed: Sekijoken Moto-yuki. 

Date, 1785-1815. 

(8) Shibuichi; the back and sides of shakudo and gold. 


Front represents the Fox’s Wedding Procession; in medium 


relief and inlaid with gold. Unsigne 
124—Two Knire Hanpies Walk 

(a) Shakudo, with ishime shagreenéd surface. Represent- 

oY ‘— ing a child on a ladder to reach persimmons. The design 
is incrusted with gold, silver, coral and mother-of-pearl. 
Signed: Tsunenao. Date, 1785-1820. 
(8) Shakudo, with nanako shagreened surface. The design 
represents a heron standing under a willow, in low relief 
and picked out with silver and gold. The back is inlaid 
with plum blossoms in silver and gold. Mark: Goto Hokyo 
Ichijo. Dated, 1780-1820. 


125—Two Kynire Hanpies Os (_ - A 


rob fie (a) Shakudo, with gold back and nanako (shagreened) sur- 
face. Sustaining three tortoises in gold, shibuichi and cop- 


per in high relief. Signed: Nagatsune. Date, 1780-1780. 


(8) Copper. Ornamented with lotus leaves and flowers; 
chiseled in medium relief. Date, early nineteenth century. 


a 
126—Two Kyire Hanp es Te (Ca Ase 
(a) Shakudo and gold. The surface is hammered in nana 


3 ( ++ shagreen style. The design, in low relief and picked out 

with gold and silver, presents the favorite and merry god 
Hotei asleep. Made by T'sune-yuki; inscribed: ‘“‘Ansei roku 
mi no hitsuji nanro.” Ranzan Tsune-yuki (eighth month of 
sixth year of Ansei (1859). 
(8) Shibuichi. Two Rishi, chiseled in low relief; inscription 
reads: “‘Kwaden Kutsu wo irezu (‘Don’t wear boots in a 
melon patch,” 1. e., lest in stooping to adjust them you 
may be suspected of stealing the melons); Rika Kammuri 
wo naosuna (Don’t adjust your helmet under a pear tree). 
Mark: Joi. Date, 1730-1761. 


First Afternoon 


127—Two Kyire Hanpirs oe 4, (ati 
(a) Shibuichi. The obverse, With shibuichi enclosed~m. a 


gold frame, sustains cherry blossoms seen through a mist, 
‘ the blossoms in silver and cloud effects produced by shaded: 
of “—  shakudo and gold inlaying. Signed: Yegawa Toshimasa. 


(3) Shibuichi. Shows the expedition of the famed Court 
noble Raiko to subdue the ogre Shuten-doji; engraved and 
inlaid with gold and shakudo. Signed: Nagayoshi. Date, 
1750-1780. 7 


Vay 
128—Two Knire Hanpies COTY) WE "ell 


= (a) Shakudo.~ The design shows a man bleaching linen. 
. / a ¢*___‘*‘The figure, in medium relief, is picked out with gold and sil- (ee 
ver, and the strips of linen are in gold and silver. Ejigh- 
teenth century. 
(3) Shibuichi. Presenting puppy-dogs chased in medium 
relief with gold and shakudo inlaying. Signed: Sensai At- 


suoki. Date, 1820-1850. - 


129—Two Knire Hanpies ) 
oe (a) Shibuichi. Chiseled in low relief/and picked out wit 


— gold, shakudo and silver. Shows thre¢ figures of the Fox’s 
Wedding Procession on the obverse side, the remainder of 
the procession being engraved on reverse. By Hirotoshi. 
Date, 1780-1830. 

(s) Shibuichi. The obverse shows a huntsman and hound, 
chiseled in high relief and picked out with gold, copper 
and shakudo; the reverse displays a wild boar escaping 
ridden by a monkey and a hare. Signed (on the edge): 


Gofu Sai Shiu Hirosada. Date, 1780-1820. 
SF | // 
180—TIwo Kynire Hanpues iD lal WL 1 
(a) Shibuichi, with gold back. The obverse sustains a cat 
oY “—___ sleeping among peonies in high relief. The reverse shows 
engraved peonies picked out with silver, gold, shakudo and 
copper. Signed: “Tankai Rengetsu-tei Toshikage tsukuru” 
(Made by Toshikage, in the Rengetsu Hall; lotus and moon 
Hall, in Awaji). Date, 1810-1835. 


4) 


>) 


| Continued 


First Afternoon 


[ No. 180-—Continued | 
(s) Shibuichi. A sparrow in gold flying across the moon, 
and in the lower corner a spray of bamboo. The surface is 
finished in a peculiar patina called ku-sara-kashi, produced 
by acids. Signed: Shintoken, Mitsuyoshi. Date, about 
1840. | | 


Se 
131—Two Knire Hanpies ae YW: Kekhey 


es (A) Copper and shakudo. An artist making a portrait of 
f J ~ a woman; executed in low relief and picked out with gold / 
and shakudo. Signed: Narano no Haruchika. Date, 17604 

1785. 


(s) Silver. The engraved design represents the Twelve 
Signs (animals) of the Zodiac. Date, eighteenth century. 


1382—Two Knirrt Hanpies Vig 


(a) Shibuichi, with back of shakudo. Two rats stealing 
eggs; one rat embraces an caieea the other drags its 

if — comrade off by the tail. The rodents are chiseled in high 
relief; the eggs are in silver. Signed (on edge): Kariuken 
Yoshinori. Date, 1830-1850. ; 
(s) Shibuichi. A man drawing water from a well, under a 
plum tree called “gantan wakamatsu no miza,” or the first 
water drawn on New Year’s day when the pine decoration is 


young. The design is picked out with gold and silver. 
Signed: Kikkodo Naoyasu. Date,  . 1835. 


; 
183—Two Knire Hannes v4 Ct 3 


(a) Shakudo, with nanako shagreened surface and gold 


cee The design, chiseled in low relief and picked out & 
mee 


with gold and silver, represents three rats inspecting an ; 
account book and a soroban or calculator (abacus). 
Signed: Made by Ito Masa-toshi. Date, 1790-1825. 


(s) Shibuichi. The design shows a number of storks chis- 
eled in low relief. Signed: Itchosai Hamano Hozui. Date, 
1700-1760. 


First Afternoon | 


184—Two Knire Hannes oe ath | 
. 
| 


(a) Shakudo, with ishime shagreene hee ao gold Back. 
. The obverse shows equestrian figure of Shoki, the ae 
oF ‘slayer; chiseled in high relief and picked out with gold. 

Signed: Soyo (the second generation of the Soyo family). 

Date, 1730-1765. 

(8) Shibuichi, shakudo and gold, with Sosen’s design of a 

monkey in a tree. Executed in relief and inlaid with gold 

and copper. Date, eighteenth century. 


1385—Kyire Hanpie iZ 4 v4 
Shibuichi, with shakudo back. The obverse side eee Ri 


yb Go culturists, in low relief and picked out with gold, setting 
rice plants, with their kettle and food lying on the bank 
of the rice field attracting a scarecrow standing in the next 


field. Signed: Kikkodo Naoyasu. Date, 1800-1835. 


136—Inown Kyurer Hanvre us & "p 
With gold back.. The obverse, chiseled in relief and inlaid 
e Br: with gold and silver, represents a demon disguised as Da- 
ruma and seated on a rock, before a censer. The reverse _ 
shows Shoki, the Demon-slayer, appearing beyond the hill- 
tops. Signed: “Motome ni ojite Niudo Munetaka” (Made 
to order by Munetaka Mouneyoshi after his retirement from 


the world) ; and a seal. Date, 1780-1820. 


137—Knire Hanpie or SHIBUICHI Nn. eta ABD, 


_ Showing a boat from which the god Hotei is looking through, 

vy) ae a telescope at Fujiyama, which is seen engraved on the ba ic 
The boat, Hotei’s bag, and a child on the latter are chiseled 

in medium relief in gold, shibuichi and shakudo. Date, 


eighteenth century. ( f eh fR Ue ; 


/ 
188—Knyire Hanne oF SHakupo Aanp Various METALS 


The face has the mokune-ji or wood grain (obtained by the 
a «* mingling and subsequent hammering out of different metals), 
with superposed ornament showing chrysanthemums, a koto 
and an ox in relief. (An allusion to a certain theatrical 


piece.) Date, about 1800. 


First Afternoon 


aa The obverse design represents 
fh and the Demon; chiseled in | 


1389—KniFrE isiastan S OF Scammed 


the story of Omori Hikoshichi 
ar relief and picked out with 


gold. Signed: Hozui, and with seal mark intend in gold. 


Date, 1700-1760. 


140—Knire Hanpie or SHakupo J 0, J 
The obverse motif presents the gate fence of a country 


residence, with trees and autumn grasses, including the moon 


V, 3 enceer rising through clouds. 


The design is executed in low 


shakudo relief, with gold, silver and bronze inlay. The 
surface of the shakudo is hammered in shagreen nanake 
style. By Goto Ichijo. On the back is the following verse: 


“Husband and wife sing together; their wings 
of love soar high into cloud-land. They sing 
their lasting affection, and their love notes 
thrill through the twin-branched pines.” 


Mark (on lower edge): Ichijo. wien -18 . 
vy / 
141—Knire Hanpie or Correr anp SHIBUI i eth, 
The design on the face chiseled in relief in shale gold 


a —— and silver, represents a demon startled at the sight of a 
branch of evergreen ilex (hiragi) with the head of a sar- 


dine (iwashi) impaled on it; 


a combination placed over 


houses in Japan at the change of the year to act as a charm 
against evil spirits and for keeping (oni wa soto fuku wa 


uchi) good fortune. The b 


ack is engraved to represent 


the fence-boards at the entrance of a house, and is inlaid 
with a branch of plum tree in shakudo and silver. Signed 


by Toshimasa (Yasuchika). 


Date, 1750-1780. 


142—-KnireE HanpuE or SHAKUDO 


With seal inlaid in gold. 


‘J ; 
7 


With ishime shagreened surface and go d back. Embellishe 
lee a with a “Dog of Fu” (shi-shi) in gold; chiseled in high re- 
lief. Signed: Somin 2nd. Date, 1750-1780. 


The engraved design represents the© fod Hotei crossing a 


148—Knire HanpieE or SILVER 


i oe eon river on an ox. Mark: Soyo. 


Date, 17730-1765. 


"f ; 
/ 
fa 


ee Se 


First Afternoon 


144—Knire Hanpie or SHIBUICHI Soe & Zs ‘y pf 
The obverse side sustains an elaborate Daimyo’s procession ; oo a 
inlaid in gold, silver, copper and shakudo. The reverse | 
tyr shows a portion of Azuma bridge and the temple of Kwan- 
a Ss non at Asakusa (Tokyo), engraved and clouded as seen 
in the morning mist. By Masamori. Signed (on the edge): 
Hosono Sozayemon Masamori. Date, 1750-1780. 


145—Bronze Kyire Hanpre anp Koeatr ne CPS ESO 
In gold, shibuichi and copper. The handle shows figure ofa 


ve vi man directing a black demon to pour wine into a tub; chis- 
eled in high relief with gold, shakudo and copper inlay. The 
Kogai displays red-colored demon pushing a cart with a 
huge bottle of sake (a fanciful episode in the story of 
Shiuten Doji), the monster and demon-robber. Mark on 
the Kogai: Kinriusai; the kozuka is signed: Senshu-koku 
kore wo kizamu (Chiseled by Senshu-koku). Date, 1780- 


1810). ae, 


yi, 
146—CoLLEcTiOoN oF FIFTEEN JAPANESE KNIFE pee 


Japanese kozuka cabinet of lacquered wood with gold-lac- 
quered inscription. f] 
oe (a) Kozuka of copper, with Kara-shishi (Dog of Fu) in relief. Re- 
/ ai verse of gold, with shakudo inlaying. By Miboku. 
(8) Shibuichi. With Deva king in copper-colored relief. By Yasu- 
chica. 
(c) Shakudo, with mythical figure of “Ashiinga” and “Tenaga,” catch- 
ing a cuttlefish. Reverse of gold, with poetic inscription. 
(p) Shibuichi and silver, wrought with figure of a Mandarin. Signed by 
artist. 
(zr) Yellow “sun-spot” bronze, wrought with figure of Chinese sage and 
tiger. Reverse with shakudo. 
(F) Shibuichi bronze, wrought with monkey hiding in tree from eagle. 
Reverse of silver. ; 
(c) Shibuichi bronze; representing a stream with two fishermen. Signed: 
Shim-siu-sai. 
(a1) Shibuichi; with man near a well, looking up at flying bird. Re- 
verse of silver. 
(1) Chased bronze, with shakudo, silver and gold inlaying, representing 


figure of scholar looking up at the moon. 
| Continued 


First Afternoon 


[No. 146—Continued | 


(s) Shibuichi, with a representation of Shoki and silver gourd. 

(x) Shibuichi; representing the figure of a priest, water bottle and egg. 
Signed: Hamano Nao-dide. 

(1) Bronze; representing a man wearing rain.coat. Enriched with gold 
and shakudo inlaying. Signed. 

(m) Silver, with raised figure of a man in copper and gold, blowing 
horn. By Hiro-chika. 

(x) Shibuichi, with raised figure of a man holding fan and small box. 
Reverse of silver and gold inlay. 


(0) Shibuichi; representing the God of Longevity, accompanied by a 7 


stork. With gold incrustation. Made by Hiro-chika. 


147—-SmMaALL JAPANESE KNIFE 


148—TIron Sworp Guarp / AX (2 %. 


( : 
— 


149—SmaLL Sworp GuaARD 


0 é 
ea 


150—Sworp Guarp oF BrownisH SHAKUDO (U4 


o* 
_ 


151—Sworp Guarp or BronzE 


y 


With simple gold incrustations. Eighteenth century. 
Length, 5 inches. 


SWORD GUARDS IN SILVER, SHIBUICHI AND 


3 4 
Dyes — 


SHAKUDO 


Wrought in the shape of a stork and lotus leaf. Unsigned. 
Date, eighteenth century. 


Of sen-taku (yellow bronze) with chased design; showing 
hut and a Tanuki (raccoon-faced) figure. Bears mark of 
Nao-michi. Ejighteenth century. 


hu 


With gold incrustation, representing two Deva kings or 
“Nios,” together with rocks and whirling water. Signed: 
Hama-no. Naomichi. Eighteenth century. 


Wie 


Wrought in form of a tiger, with gold-incrusted eyes and 
claws. Signed by the artist Yasuchika. 


tt. 


First A was 


152—Iron Sworn Guarp rk. 6 Bate _ 
d in 


Wrought with plum stem, sprays and sparrows, chase 
ee high relief. Signed: Kingyoku-do Miyochin, Hirosada. 
fe Date, 1780-1820. 


1538—-Sworp Guarp or Rep Bronze 


: ,;- Wrought with gold representation of 4 /gourd and leafage. 
~~ Signed: Tosui (?). Eighteenth century. 


154--Sworp Guarp or Iron Sa ‘ : 


Py ‘ie With cherry blossoms wrought in medium relief. Mark: 
~ “Made by Masatoyo.” Date, 1760-1795. 


155—Sworp Gvuarp or Iron ( ‘ Ae 
Ornamented with chrysanthemum flowers and leaves. Bgar- 
2 ¢¢ ing inscription: Made by Noriaki of Owari, by request of 
~— Moroga Masataka. Date, 1780-1820. 


ioe 
156—Correr Sworp Guarp Wi ee a 


: The surface hammered in ishime (shagreened pattern), with 

o ri fs design of a cricket (korogi), clouds and the moon in medium 
relief with shakudo and gold. Signed: Gyonen rokuji-go 
Kunichika. Made by Kunichika, when sixty-five years old. 
Date, 1760-1790. 


157—Sworp Guarp or Bronze NWN Ne hEarren 


With a representation of two “No” [ee richly inlaid, 

. . imeluding a gold drum and fan. Reverse shows cactus plant 

Va "A — and a frog breaking through its shell. Signed by Tan-zui, 
made when sixty-two years of age. 


158—Iron Sworp Guarp yas TR bic KOR 4 
/ 


The Three Monkey Motif, wrought in high relief and SD st 

ie , resenting the “silent monkey” (iwazaru) ; the “deaf monkey” Me a 

¢ ~— (kikazaru) and the “sightless monkey” (mizaru), illustrat- V 
ing a practical pun on the negative ending (zaru) of Japan- 
ese verbs, which is a homonym of “saru.” Mark: Shoami 


Nario. Date, 1730-1765. 


First Afternoon 


159—Iron Sworp Guarp OA 


With chrysanthemum flowers and leaves chiseled (in medium 

y) ¢4 relief and incrusted with gold. Inscribed: “‘Choshu Hagi 
ni oite Okazawa Eisuke kore wo tsukuru” (Made by Okaz- 
awa Eisuke, at Hagi in Choshu). Date, 1765-1830. 


160—Suizsvicu! Bronze Sworp Guarp 
The obverse side sustains a raised sprig of vegetation 
i pect wrought in gold and silver, its reverse side showing small 
shells and twigs. Nineteenth century. 


161—Inon Sworp Guarp (Boe. g 


Wrought with cherry blossoms and a landscape, 
q relief, and incrusted with gold and silver. Mark: Kajitsura. 
b “—~ Date, 1763-1795. 


162—Iron Sworp Guarp tp. ve 


With smooth surface, showing raised spotted deer with cop- 
ey) ‘"_ per and gold inlaying. Signed: Kanaiye. 


f : 
163—Iron Sworp Guarp (i MG. Ri Aeohen 


._ Inthe form of two dragonflies. Inscribed on obverse: Mo- 
/ y “- yoga Masataka no Konomi (By desire of Moroga Masa- 3 
taka); on the reverse: Owari no kuni no ju (Living in 
Owari); Noriaki saku (Made by Noriaki). Date, 1780- 
1820. 


164—Suisvicur Sworp Guarp 4 ia 4 
/ yf ‘__ Wrought with figures of huntérs in high relief and inlaid 
with gold, silver and haley Mark: Tetsugendo Nao- 
shige. Date, 1775-1810. 


ff) oe 
165—Sworp Guarp or SHAKUDO Gi ee B 


[ aah Ornamented with chrysanthemum flowers, chiseled in medium 
— relief. Early nineteenth century. 


First Afternoon 


166—Sursvicu1 Sworp Guarp Oo 
The obverse side sustains Shoki,/ the Demon-slayer, looking 
at the reflection of a Demon the water; reverse shows 
if 5 the Demon peering down from a tree. Inscribed: ‘‘Genji 


ni nen ushi no shoshun giyonen roku-ju-roku shojo okina, 
Temmin” (Made by the old tippler Temmin, aged sixty-six, 
in the spring of the second year of Genji). Date, 1865. 


167—Sworp Guarp or SHaxupo Bronze ES o 
yé With ishima hammered surface and incrusted ornamenta- 
eres tion, representing a fan, pouch and silver inro, together with 


green gourd-shaped slide. Nineteenth century. 


168—Sworp Guarp or Bronze vf ‘S | 


With copper-colored demon surprised at the sight of a 
(eas pigeon, wrought in gs Signed: Sei-kwa-gai. 


966--Swonp Guarp oF Copper (Rep Bronze) cL, A See? 


a : Wrought in form of a crouching demon (oni), inscribed 
—_-— with mark of Toshi-masa. Late eighteenth century. 


170—Sworp GuarpD oF SHAKUDO a 4 | 
The design shows a cock on a roof, with a pine tree; the 


3 oe ge reverse side presents sheaves of rice beside flowing water, 
— uniformly executed in medium relief and picked out in silver, 
gold and copper. Mark: Iwamoto Konkan. Date, 1'743- 
1800. 
( Y 


171—Sworp Guarp oF SHAKUDO : 

Wrought with figure of Shoki, the | 

43a, slayer, holding a large sword. The reverse shows the run- 
ning figure of a small demon. Early nineteenth century. 


rly giant and Demon- 


172—Sworp Guarp oF SILVER | 
With shagreened surface, showing a small snail; leafage 
hd “é~___ in gold, together with bamboo rim band in shakudo. Signed: 
Takara Koshinori. 


First Afternoon 


178—-Iron Sworp Guarp ies | b 


6? 
= 


174—Sworp GuARD OF SHAKUDO 


Bee 


175—Suizvicut Sworp Guarp Y 


hg ed 


176—SHuHiBvicH1 Sworp GuARD 


gS 
) b 
y) oe 


177—Sworp Guarp oF CopPrER 


pa eA 


178—Sworp Guarp oF Iron 


Log 


Wrought in openwork and showing aconch shell with gold- : 


incrusted cords in loops. Signed by Masa-yoshi. 


With shagreened surface. The obverse side showing land- 
scape, with the Azuma bridge in Tokyo. The Sumida River 
and boats, including the temple of Kwan-non at Asakusa, in 
the middle distance, and Fujiyama in the background. On 
the reverse side, a view of Mukojima. The work is exe- 


cuted in medium relief and picked out in gold, silver, shi- — 


buichi and copper. Inscribed: ‘‘Yonezawa no ju, Yokoya 
Yosaburo, Yokoya Tomotsune” (called also Yokoya Tomot- 
sune, residing in Yone-zawa). Date, 1835. 


) 
With figures of the Deva, or Temple gods, in medium re- 
lief and on recessed panels, the ground of which is ham- 
mered in ishime pattern. The remaining surface incised with 
scattered cherry petals. Mark: Shozui (probably made by 
a pupil). Date, eighteenth century. 


Incrusted gold and silver design, representing a sage reading 


a scroll, whose attribute, the stork, appears flying above 


him. Reverse shows simple engraved tree. Signed: Take- 
nobu. 


With gold rim. The obverse shows horses in strong relief 
under a willow; the reverse side sustains willow tree and 
waterfall, enriched with gold, shakudo, silver and shibuichi 
inlaying. Signed: Omori Teruhide. Date, 1740-1798. 


Wrought openwork (Sukashi-bori) in form of spearhead 
with silver incrustation. Signed: Tetsugen. Date, six- 
teenth century. 


¥ 


Qe Cee 
VO 


a — 


First Afternoon 


179—Pair or Sworp GuaRDS OF Cae a Pee ; 


(For the Samurai’s two swords.) With ishime shagreened 
surface. The design shows a stork and tortoise, overlap- 
ping the upper edges of both guards; the lower parts sustain 
4 “ crested wave motifs, chiseled in medium relief and picked out 
in shibuichi, copper and gold. Mark: Iwamoto Shirotoshi. 
Date, 1780-1810. 


180—Sworp Guarp oF SHAKUDO 
The obverse shows one of the Sdyen Sages of the Bamboo 
Grove (Shichi-kenjin) unfolding a scroll; an attendant 
ff 3 ¢* appears under bamboos on the reverse. The design is exe- 
cuted in medium relief and inlaid with gold, silver and cop- 
per. Mark: Toshinaga. Date, 1740-1770. 


on /) 

181—Iron Sworp Gvuarp Ae (CO Y 

Wrought with figure of Daruma in high relief on one side; 

7°  ____ the face in shibuichi bronze and the eyes in gold. The re- 

verse represents a priest’s hossu (fly brush) in silver and 

shakudo. The obverse side, in shakudo ideographs, bears 

the inscription: “Shingai muzen-ho” (There is no guide like 
conscience). Mark: Naotsugu. Date, 1790-1820. 


182—Iron Sworp Gvuarp | ie 
In the form of New Year’s knot (shogwatsu no shime- 
kd Kazari), embellished with two rats onUhe edge, one of the 
—— rats in shibuichi bronze. Mark: Tsunagawa, with a seal. 
Date, 1810-1835. 


“et 
183—-Sworp Guarp oF IRon « 


Wrought with silver storks. Reverse shows a tree chiseled 
e: Y —— in low relief. Fine texture. By Shiho Getsu Kuwan. With 
gold-inlaid seal mark. 


184—-Sworp Guarp oF Iron ae 3 Cae 


> 


- ; Wrought with bronze incrustation, representing walnuts. 
Y 


—_ Signed: Kon Kuan of Osaka. Seventeenth century. 


First Afternoon 


185—Pair or SHakupo Sworp Gt 
(For the Samurai’s tw swords. ) With  ishime 
shagreened surface. The obverse of the larger guard 
shows sparrows flying from a pine tree, into which a 
oJ ‘—hawk has swooped; the reverse design includes a bird near 
a brook, and a branch of pine, uniformly picked out in gold 
and shibuichi bronze. The obverse of the smaller guard 
shows a sparrow flying from an evergreen tree where a 
hawk has lit; the reverse shows a second sparrow flying 
down to a brook; the whole chiseled in high relief and picked 
out in gold, shibuichi and copper. Mark: Horiuken Takasu 
Yeiji. Date, 1805-1825. 


i: 
| | : 
186—Sworp Guarp or Iron Je ee 


ie J *_ In sukashi-boru (wrought openwork), with chrysanthemum — 
blossoms and vines, with gold, copper and silver incrusta- 
tions. Seventeenth century. 


187—SuHaxupo Sworp Guarp On. We 


Obverse side sustains figure of a man in a b at, in the 

Bien ace act of casting a fish net; reverse shows a willow tree and 

— water; chiseled in medium relief, and picked out in gold and " 
shibuichi inlaying. Date, late eighteenth c 


entury. sa 
188—STEEL Sworp Guarp a } 


/ The design consists of ae at play, chiseled in low re- 
( g«° lef. Mark on the obverse made by Choun-sai; on the re- 
verse by Yoshitane. Date, 1760-1785. 


189—Iron Sukeht GUARD ‘ 


Syne side and cloud po on the other; the ascending dragons 
ie are incrusted in silver and the flames in gold. 
Tenkodo Hidekuni. Date, 1780-1815. 
fe Ae 
2 Wrought in form of a tied purse, or Kane-bukuro; with 
ge 


190—Iron Sworp Guarp 


silver inlaid cords. Signed: Tetsu-gen do. Eighteenth cen- 
tury. 


First Afternoon 


FOE ie 
191—Sworp Guarp anp Mounts Les oe, Ch fh rae 


(a) Sword guard of shakudo, with gozame (matting 
grained) surface. The design, in high relief, presents 


> ad se dragonflies, with gold, shakudo and copper inlaying. Mark: 


Jochiku. Date, 1780-1820. 


(s) Knife handle of shakudo. To match. Mark: Hideshige. 
Date, 1810-1835. 


192—Iron Sworp Guard wiTH GoLpD Bayram fal, 
The obverse side presents wild geese/and hedge in high 


relief ; and the reverse shows flying geese with grass in the 


> & 
| ie if ‘_ foreground; uniformly picked out in gold, silver and shi- 


buichi inlaying. Signed: Hideyo saku (made by Hideyo) ; 
on the back: Onishi Naomaru. Date, 1830-1850. 


fe / 
198—Sworp Guarp Te ‘ 


The obverse side, in shibuichi, sustains a landscape with 

oS ( ee monkeys; the reverse, in shakudo, shows pine trees with a 
monkey in the boughs. The surface of the shakudo is in 
ishime shagreen style, and the design is in medium relief, 
picked out in gold, silver and copper. Mark on the reverse: 
Keio Gannen ushi no shoshu (1st year of Keio, first autumn 
of the ox, 1865); on the obverse, Fukiware no Kyotoshi 
(Made by Kyotoshi). 


WY 
194—Iron Sworp Guarp dae ue Sf: NG, MANAG 


Representing the famed Court noble Minamoto, better a 
ra known as Raiko, and the head of Shutendoji, the ogre mon- \/ 
at. v* ster. Inscribed: Seiunsai Nagahide saku, an apocryphal 
~~ mark. Probably made by Tenkan. Nineteenth century. 


/\ y) Sf? 
195—Sworp Guarp or SHaxupo BronzEeAna avr AR Go 
Wrought with elaborate floral embellishment in gold and 
> bits shakudo relief. Signed: Made by Naga-take. 


~~ From the Brayton Ives Collection, New York, 1891. 


Or ae 


First Afternoon 


196—Iron Sworp Guarp re . L On 


The obverse side is ornamented in \Welief with gold and sha- 

' kudo inlaying, showing the goddess Benzai-ten on a dragon 

7 ¢~ with her biwa, while the reverse presents scroll motifs. 
Early nineteenth century. 


197—Pair oF Sworp GuarpDs ae (9 ahs 


DM «- With design of herons, lotus flowers and leaves in silver 
— and shibuichi; medium relief. Mark: Otsuki Mitsushiro. 
Date, 1800-1840. 


198—Iron Sworp GuarRD tha‘ (c VY , (eee s.. 


LY y¥# The obverse side shows a clam-shell from which emanates 
a golden cloud that partially envelops the palace of the 
Sea-god; the reverse sustains a landscape with lake picked 
out in gold, silver, shibuichi and shakudo. Mark: Seirisu- 
sai Hidetoshi (called also Kyotoshi and Toriu-sai) ; with 
seal. Date, 1810-1865. \ 


199—Sworp Guarp or Yettow Broxze (Sen-takw) 


/ fe ¢° Representing hawk, wrought in cépper, in pursuit of mon- 
keys who are trying to hide. The reverse represents a 
waterfall. Bears mark made by Mi-boku. Eighteenth 
century. 


200—Sworp GuaArD IN SHIBUICHI ual Ct 


With mendicant leading a monkey, whose jacket is wrought 
“ Vi in gold. Reverse chased with landscape; house and view 
of Mount Fujiyama. Signed: Nagahede (Seun-sai). 


201—Iron Sworp Guarp 
With shagreen surface, sustaining a simple representation 


7 of some famed (kosuka) knife. Made by Masa-nori. 
Eighteenth century. 


Vollin Gr 


ST? Pe 


First Afternoon 


202—Irnon Sworp Guarp 
Wrought with a demon on the back of Shoki, in shakudo and 
inlaying of gold and silver. Reverse shows a tree in 


o ae shibuichi. Signed: Kiyo-aki. 


203—Iron Sworp Guarp iy je pine ae 


Incrusted with silver chrysanthemums and ideographic in- 
a d) «< __ scriptions in six characters. Date: Eighteenth century. 


204—Iron Sworp Guarp 
Ornamented with dragon, clouds nv rain in gold; edge 
EES «« inlaid with gold. Mark: Tenkodo Hidekuni. Date, 1780- 
1815. 


205—Larcer Sworn Guarp oF Bronze ML- 


Wrought in form of a sake jar, with group of five Shojos, 
whose long hair shows copper color. Signed: Itsu sando, 


o )uz including seal. Naga-haru. 
™— 


206—LarcE-sizE Sworp GUARD bs 


Of yellow bronze (sen-taku), with large image of Toshi- 
/ Viki toku; a year of virtue and good luck god, wrought in cop- 
“ per and gold inlay, looking down from Mount Fujiyama 
upon two flying cranes. ‘The reverse shows an engraved 
wooded landscape. Bears mark: Nara Yoshi-masa. Late 
eighteenth century. 
Lat 
207--Larcr Sworp Guard oF YELLOW Bronze 
4 )x With bust of Futen, the Wind god, wrought in copper and 
— gold. Reverse represents wind clouds with a bird seeking 
shelter among leafage. Signed: Kounken-Michi nao. 


208—-JarPANESE DAGGER ¥ 


Red-lacquered scabbard, embellished with gold-lac 
cherry blossoms. Iron mountings with gold inlaying, in 


52 fern design, includes knife and chopsticks. 
ss pai Length of blade, 9 inches. 


So 


First Afternoon 


orp Guarp ANd Mount ee D 


With nanako surface and gold rim. The design consists 

Pe of a pine tree and storks, in silver, gold and shakudo. A 

oS ~~ — kurita or cord ring with stag in relief. Both pieces by 
| Ishiguro Koreyoshi. Date, alu tecaineee tay 

210—Parir oF SHakuUDO Sworp GuarpsAKD Mounts i 

For the Samurai’s two swords. With shagreened (ishime) 

y M a4 surface. The obverse design on one sustains peacock and 

peonies, and the other a cock, chickens and peonies, all 

chiseled in high relief with gold, silver and copper inlaying. 

Signed: Ishiguro Masayoshi. Date, 1765-1820. ‘The sur- 

face of the two tips and the two hilt rings is in ishime 

pattern and the design consists of peonies, peacock, rooster 


and chickens, in strong relief and picked out with gold and 
copper. Both rings signed: Ishiguro le Date, 


1765-1830. a a 
Ln 9 


Np Mounts to MAtcH — 


— es 


(a) The guard, with design of monkeys, waterfall and trees, 
ies in medium relief, with gold, copper and shakudo inlay. 

Mf ~~ (n) Ring and tip of shibuichi. Showing an eagle and a 
monkey hiding in a cave below; chased in medium relief and 
picked out with gold. Both guard and mounts inscribed: 
Tofu-ju Jihyosai Ishiguro Masayoshi, kore wo tsukuru 
(Made by Jihyosai Ishiguro Masayoshi, residing in Edo). 
Date, 1813. 


212—.J APANESE SHORT Sworp 4. Bg: 


Se Red-lacquered scabbard, embellished with gold-lacquered 
kiri-mon crests; sharkskin handle, with bronze guard and 


inlaid mounting. 
Length of blade, 11 inches. 


213—Jaranrse Lone Sworp a, Noe Lis 


vie Gold-lacquered scabbard, silver mounting embellished with 
© <pheasant and crest motif; silver guard and fitting with 


gold crests, en suite. Fine blade. 
Length of blade, 23 inches. 


First Afternoon 


POUCH BUTTONS, CLASPS AND KANA-MONOS 


214—Two Povcu Burrons a i 
(a) Shibuichi, inlaid with gold and copper; tepresenting 
1 ae the Sennin Gama, playing to his toad. mid: Minjo. 
Date, 1840-1870. 
(s) Silver, with engraved figure of the god Daikoku seated 
on bales of rice, playing with rats. Mark: Homin. Date, 
1820. 


6 
215—Two Povucu Buttons Tv" : /L. 7. f. 


(A) Silver. Wrought with figure of an old chajin, or poet, 

chased in high relief; the garment in shakudo and gold. 
Seen: Kitubka Mitsuyuki. Date, 1760-1790. 

(p) Shibuichi. Inlaid with gold, representing the god of 

the Wind (Fujin) struggling with his wind-bag among the 

clouds. Mark: Baido Shuraku. Date, 1850. 


r thr bs e, 
216—Two Povcn Burrons 


(a) Shibuichi. With figure of Yukotohime, a masked fe- 
LO “— male (Kagura) dancing before a boiler to purify the water. 
The dress of the dancer is inlaid with gold and silver 
wrought by Shounsai Riumin. Marks: Shounsai Riumin 
and Shojo Okina Temmin (‘Temmin, the old wine bibber). 
Date, 1840-1£60. 
(es) Shibuichi; inlaid with gold. Wrought figure of a 
demon whose arm was cut off by Watanabe no Tsuna. The 
demon has recovered the arm and is riding away on a cloud. 


Mark, Riumin. Date, 1840-1870. - 


(al ee ee 
717—lTwo Poucu Burrons ot, ie : VS AT f__ 
ay” ** (A) Gold and silver inlaid. Representing Onibaba (an old 
hag demon of Asaji-ga-hara), struggling with her daughter, 
who prevents the beldame demon from killing an acolyte and 
lover. Signed: Shu-min. Date, about 1860. 
(8) Shibuichi and shakudo, with gold inlaying. The de- 
sign represents Yajiro and Kita-hachi, heroes of the cele- 
brated Japanese comic novel, “Hizakurige.” Mark: Sho- 
min no gwa (Shomin’s design). Date, 1850. 


} 


First Afternoon 


218—Two Povucu ButTrons a 
Be Ax (a) Of gold, shakudo and bronze. Representing a peony 
— blossom and leaves. Wrought in openwork. Date, 1800. 
(8) The design shows a tipsy holiday-keeper dancing under 
a paper puppet (kameidomiage) hung from a bamboo and 
sold at Kameido, when the plums are in bloom. Mark: 
Riumin. Date, 1840-1870. 


219—-Two Powvcu Buttons Ors Gs | Le 


(a) Silver. The design presents the Seven Autumn Flowers 
. with butterflies, picked out with gold. Date, about 1820. 
+f J “~ (8) Gold and shakudo; showing a mantis insect among a 
bunch of flowers. Date, 1780. 


220—Two Poucu Buttons fy Te NAG lr LA4 1A, 
(a) Shakudo. Wrought with the ree O Hitomaru the 
poet in gold, leaning on an arm-rest; a wee: jcopper 
Jf “= demon also is shown mixing ink for the poet’s use’ Date, 
1800. 


(8) Shibuichi, inlaid with gold. Chased design of Benkei 
reading a false kanjin-cho (religious document) in order to 
pass the guard-house at Atako-no-seki. 


Pe 
a ’ Lg 


221—-Sitver Poucn Burron (Kagami-buta) oki 
7 Representing the Chinese hero Chao Yun (Japanese Choun) 
— rescuing the future Emperor Liupei. Under Chao-Yun’s 


horse is the chasm and cloud which is said to have enveloped 
the warrior, when saving the baby. The armor and trap- 
pings are picked out with gold and copper. Mark: Tsuchiya 
Masayoshi. Date, 1810-1840. 


222—-Poucu Button tC Ta 
a pears yi gold, shibuichi, silver and copper. Repres ing a demon 


“—~ roasting Indian-corn and selling it at the Kwan-non market 
as a charm against lightning. On the silver lantern, beside 
the demon, is inscribed: rai-yoke (lightning charm). Date, 
1780. 


First Afternoon 


223—GoLtp Povucu Burron 24 
Representing Toki-wa Gozen escaping th 


C a 


from the castle of Yoshitomo, with the child Yoshitune, 


a and leading Yori-tomo and Nori-yori by 


the hand. The 


faces and hands of the figures are in silver and the dress 


of Tokiwa is inlaid with the same metal. 


The hair is in 


shakudo. Mark: Kiriusai Soyo. Date, 1730-1765. 


ds 
224—Two Goup Poucn Burrons 


uu 


(a) (Kagamit-buta.) With design of wrought cuttle-fish 
LE g “—and waves, chased in strong relief. Mark: Kikugawa. Date, 


1780-1815. 
(s) With chased design of ferry-boat and 


figures, showing 


a Samurai, a traveling showman and boatmen. Mark: 
Shichi-jissai no Okina Temmin (seventy-year-old Temmin). 


Date, 1840-1870. 


225—Go.tp PoucH OrNAMENT 


@« 


A Deva appears (in the middle), the god of Thunder on the 
left, and a Yadaijin (Prime Minister) on the right. Figura- 
af <e ““___ tively representing the three gates of the Asa-kusa Temple 


(Niomon, Kaminari-mon and Yadaijin-mon). Mark: Riu- 


min. Date, 1840-1870. 


N.B.—The three faces are supposed to represent Wrath (the Deva 
King), Grief (Yadaijin) and Mirth (the God of Thunder). 


226—Two Povucu ORNAMENTS Cp d 


fZ SF iy 
SF. A2 Lee 


(a) Of shibuichi. Inlaid with gold and silver, representing 
Co. ¢*_ a Daimio in the act of drawing the lines for the comprience- 
ment of a sacred bulding (equivalent to the Western cere- 
mony of laying a corner-stone). Mark: Jikokusai Masat- 


sune. Date, 1760-1818. 


(s) Pouch clasp. Of silver, gold and copper; representing 
the Dai-kagura dance. Mark: Shozui. Date, 1697-1769. 


First Afternoon ‘ 


227—Poucn Burron anv Twd PoucHh~OrnaMeEnts ; 

(a) Button. Of silver, picked out with gold; the demon- 

7 J «s slayer and two devils; Shoki holding his sword as a guitar 
and the demons singing and beating time. By Kitugawa 
(the third generation of the Kikugawa family). Date, 1860- 
1880. 
(s) Two ornaments. Of silver inlaid with gold. The de- 
sign shows Fujin (god of Wind) opening his bag. ‘The 


reverse shows effect of the storm. Date, 1800. 


228—Two Sinver Poucu pede - 


(A) Representing Yokubari-baba, the covetovs old woman 
/ a. ‘4. who cut off the tongue of a sparrow belonging to a neighbor, 

and later, visiting the Sparrow Kingdom, was presented with 

two boxes to choose from, of which she selected the heavier, bs 

and found it full of demons and ghouls. By Kikugawa. — 

Date, 1780-1815. 


Le 


(3) Representing Gama the Sennin with the toad. By Ki- 
kugawa. Date, 1780-1815. \y 


229—-PoucH ORNAMENT AND Burton 


(a) Ornament of shakudo and gold. Wrought in the form 
f/2 ¢s_ of the “Takara-bune” or Barge of Good Fortune, with the 
Seven Gods of Happiness riding in it. Date, about 1780. 
(8) Button. Wrought in the form of winged dragon 
(hiryo) and waves. By Kikugawa. Date, 1780-1815. 


230—Two Poucm .Crasps NON oy 


| (a) Of shibuichi and silver. On the ex yeme link is an 
Fae ‘Cs engraved design of Rio-gu-ku Bridge; the other links show 
designs of peony and chrysanthemum scrolls alternately. * 


Date, about 1820. 


(8) Silver and shibuichi. Ornamented with various diapers 
in low relief. Date, about 1830. 


First Afternoon 


231—Turee Povcn Crasrs © Bie é Ee 


(a) Of silver and shibuichi. With dia yer designs, alter- 
ate, about 1820. 
vi “ (es) Of shakudo and slver, inlaid with gold-flowered diaper 
o~¢ ~ patterns. Date, about 1830. 
(c) Of shibuichi, inlaid with gold. Floral and diaper pat- 
terns. Date, about 1880. 


nately perforated and inlaid with gold. 


{ ) 
ee ES | a / J 
232—T wo SH C1asps ie (Le vas GAD) RRS 
(a) Or silver and shakudo, inlaid with gold and hammered 
ey co tS in ishime shagreened pattern. Date, about 1800. (/ 
(x) Of shakudo, inlaid with gold in diaper design. D 
about 1830. ey y, ~ 


233—Two Povucn Crasps Ate x f Av 
(a) The links of gold, shakudo, silver, copper and/|shi- 


9 [ ..  buichi in succession. The incised designs represent/ the 
— Go-sekku or “Five Festivals” (1st of Ist month; 38rd of 
8rd month; 5th of 5th month; 7th of 7th month and 9th 
of 9th month). Mark: Shuraku. Date, 1850-1880. 
(x) Of shibuichi. With flowered diaper designs, chased in 
low relief and with the engraved pattern known as “Yenshu- 
moyo” (after the celebrated Chajin Kobori Masakazu, of 


Yenshu, who first designed it). Date, a vig 
234—SILVER AND Suisuicnut Povucw Crasp (Kano- 
On one side represents a blind man feeling his way round 
- vad é an image of Daruma under a willow tree; inlaid with gold, 
silver and shakudo. Mark: made by Riumin. On reverse 


shows a design of children making merry at the blind man’s 
expense. Mark made by Minjo. Date, 1840-1870. 


ite, 


235—-Poucn Burron anp ORNAMENT Oe Cvrrer 
(a) Button of gold, shibuichi and shakudo. Wrought in 
bh the form of three “No” masks, . “Okina” “Hangi’’ and 
a —__ “Kitsune” (or fox). Mark: Goto Yoshinori. Date, 1840. 
(3) Ornament of silver. In the form of a bunch of peonies 
and leaves, deeply chased. By Kikugawa (?). Date, 1780- 
1815. 


First Afternoon 


236—Poucn ORNAMENT _ C9. C3 Shh 


J — Of silver, in the form of a dragon; attributed to Kiku;gawa. 


Date, 1780-1815. : | | 


237—Povucn Button anp ORNAMENT 

(a) Gold button. Wrought in dragon design by Kiku- 
; gawa. Signed. Date, 1780-1815. 
oY coe as (s) Ornament of gold, in the form of a chain of dragons. 
Date, 1800. 


238—Two Goxrp PotcH ORNAMENTS Va , 
(a) (Kana-mono). Representing a bunch of peonies and 
chrysanthemums. Date, about 1800. 
Ze fi “\ (x) Of gold, in the form of dragon and tiger in conflict. 
Date, 1830. 


Ys ea 


239—Two Goip PoucH ORNAMENTS 
(a) (Kana-mono.) Representing a combination of pine 
trees, bamboos and plums (sho-chiku-bai) in low relief, typi- 
vy ‘— fying good fortune. Date, about 1780. 
(3) Of gold and shakudo, showing a pheasant among 
peonies. Mark: Toshi-mune. Date, 1830. 


v 
240—Two Gotp Poucn ORNAMENTS + 


.- (A) (Kana-mono.) Representing a tennin (musician) 
U — whose hair is finished in shakudo. Date, about 1820. 
(3) Representing a tengu-bird and a (Ran ryo) mask. 
Date, about 1820. 


~~ 
& 
241—Gotp Povucn OrNAMENT 


Wrought in the form of a bunch of chrysanthemums and 


ve : 
rs Raa other flowers, with two quails. Date, about 1775. 0 


242—Four Pair or MENvKI | 
In silver, shakudo, shibuichi and gold. Puppy dogs. Mark: 
ye ec .c¢ Masayoshi. Date, 1710-1770. og by Nagatsune. Rats 


by Yoshi-Nori. Cock, hen and chicken, by Ishiguro Ma- 
saaki. Date, 1780-1830. 


First Afternoon 


2438—Menvk1 Cae tut 
(a) Pair of menuki in gold, shakudo and copper. Repre- 
o j .+ senting a cock, hen and chickens. Date, 1780. () 


= (3) Menuki, in gold, shakudo and copper. Representing 

pheasants. Mark: Ishiguro Masayoshi. Date, 1765-1830. 
Vian 

Gold, silver, shibuichi, shakudo, and copper; ‘one of gold 

e shows a descending stork, another three pigmies fleeing at 

7 s/ the sight of a huge bird. By Ishiguro Kore yoshi. Date, 

1780-1830. Four others represent children at play, exe- 


cuted in medium relief. Signed: Hirata Harunari. Date, 
early nineteenth century. 


244—Trree Parrs or Menvuxkti 


245—Two Pairs or MEeNvuxKI 
(a) In gold and shakudo. Representing the hero ‘Asahina 
Saburo pulling off part of Go-ro’s armor (shoulder plate) 
peal $@ in the attempt to restrain him from engaging in a quarrel. 
(A favorite subject, known as Kusazuribiki). Mark: Ha- 
mano Nori-yuki. Date, 1750-1780. 
(s) In gold, and shakudo. En suite. One representing 
a hawk on the wing; the other a hawk striking a crane. 
Mark: Ishiguro Masaaki. Date (one), 1780-1830. 
os 
246—Two Patrs or MENvkKrI 
(a) In iron and gold. Representing the evil-passioned 
iy Kiyo-hime, transformed into a fiery dragon-fiend, coiling 
/ ~ around the Temple bell under which the priest Anchin lies 
concealed. Mark: Tetsugendo Shoraku. Date, 1740-1785. 
(s) In shakudo and gold. Representing the Deva Marishi 
Ten (Sansk., Maritchi Deva). Mark: Hamano (Noriyuki). 


Date, 1750-1790. ) 
ie A 


5 soy 


(a) In gold and shibuichi. Chased in low relief, with fig(yre 

oa 2 s2 subject representing Chinese historical characters. Chu- 
™—~  ko-liang, or Komei, appears on the gold Meniku, while his 
companions Liu Pei and Kwan Yu are shown on the other 


/ 


247—-Two Parrs or Butron-sHarPpED MENUKI 


First Afternoon 


[No. 247—Continued | 


Menuki of shibuichi. The drapery enriched with silver, — 


shakudo and copper. Mark: Nagatsune (on the edge). 
Date, 1730-1780. : 3 
(3) With heads of Sennin (genii) chiseled in low relief and 
inlaid with gold and silver. Date, 1810. . 


248—Parr or MENvKI & Cee 


In shakudo and silver. One is inlaid with gold; the other 


/ o ea hae green and copper-colored enameling in the form of 


beetles (tama mushi). Date, about 1780. 


?2?49—Parr oF MENUKI Y . OG pe. 


In shakudo, gold and copper. En suite. Representing the 
e-__—- Chinese hero Kwan Yu and one of his squires on horseback. 
(OC Mark: Mamano Noriyuki. Date, 1750-1790. 


ie Es 
250—Parr or MENUKI QLD (3 


We In copper and gold. Representing the Deva Kings. Mark, 
“  'Toshi-vyoshi (on the edge). Date, 1850. 


251—Sworp Movunrs TC Y hae 


(a) Tip of shakudo, with ishime (shagreened) surface. 
i *— _—- The design sustains butterflies in low relief, picked out with 
gold and silver. Early nineteenth century. 
(p) Kashira, or tip, of shakudo. The design presents an 
emblematic cock on a drum; in medium relief and wrought 
in silver, copper and gold. Inscribed: Bunkaju toridoshi 
Sho-cho Harunari (tenth year of Bunka, 1818; first work 
made in the year of the bird, by Harunari). 
(c) Iron kurigata, or cord ring, from sword scabbard. In 
the form of the two temple guardians (Nio) trying the 
strength of their arms. The two figures are wrought in 
high relief from solid iron, and picked out with gold. Date, 
about 1700. 


First Afternoon 


252—Sworp Movnrs a 


(a) Hilt ring and top of shakudo, with nanko surface an¢ 
_ gold edges. An old man holding out a peony to a numb¢ér 
PA U ~~ of children in medium relief, picked out with gold and silver. 


Made by Kyotoshi. Signed: Juso Hogan. _ Date, 1810- 
1865. 


(s) Hilt ring and tip of shibuichi, with nanako shagreened 
surface. Both show crawfish chased in high relief, with gold 
and shakudo inlay. Mark: Ishiguro Masatsune. Date, 


1760-1828. = OTA TH 
253—Two Hitr Rines ann Two Tirs tro Miron 


40 “= (For long and short sword.) The design, in medium re- 
hef and picked out with shibuichi and gold, represents a 
stork, tortoises, pine sprays and wave-beaten rocks. The 
surface is inlaid with gold so as to resemble aventurine or 
nashiji lacquer. Mark (on each ring): Shiho. Date, 1780- 
1815. . 


re 
254—Sworp Mounts & 


(a) Ring and tip of iron. En suite. Incrusted with gold; 

— tip is ornamented with figure of the Deva god Fudo and ring 
shows Ni-Doji, wrought in medium relief. Inscribed: Made 
in the mid-summer of the 3rd year of Keio by the old man, 
Washizu Hogan Nobuyeshi. Date, 1867. 


(s) Hilt ring and tip of brass. The ring sustains men and 
women who are working in the rice fields, and the tip shows 
a woman carrying their dinner. The figures are executed in 
low relief, in shakudo, shibuichi, silver and gold. Signed: 
Tofu junin Jukakusai Ishiguro Masayoshi kore wo tsukuru 
(Made by Jukakusai Ishiguro Masayoshi residing in Edo). 
Date, 1765-18380. 


9c 
255—Sworp Mounts HX 


surface. Represents four Chinese heroes (Wars of the 
Three Kingdoms). Chu-koh Liang is seated in a pavilion 
poring over classics, while Lui-Pei, Chohi and Kwan-Yu ap- 
proach on horseback. Date, eighteenth century. 


Pe (a) Hilt ring and tip of shibuichi, with nanako shagreened 
~~ 


| Continued 


First Afternoon 


[No. 255—Continued | 


(s) Hilt ring and tip of shakudo, with nanako shagreened 
surface. Executed in high relief and inlaid with gold; 
represents bats and the timbers of a bridge. Signed: Gi- 
yonen Rokujugo Shozui, des aged 65). Date, 1630. 


256—Two Sursuicnt Hinr Rincs ann Two Tres to Marcu 
(For-the long and short sword.) With ishime shagreened 
J / ¢{& surface. The designs represent fighting cocks (shamo) and 
boughs of the shukaido (red Pyrus spectabilis). Signed in 
larger ring: Toga-kushi Ishiguro Masatsune. Date, 1760- 
1820. 


257—Goup Hitt Rine anp Tip ie : (Oe 


ss nae, The design shows Fuku roku-jin, the God of Good Luck, 
‘and a child, together with attributes, a crane and a tor- 
toise; the whole in strong relief and picked out with silver, 

copper and shakudo. By Ishiguro Koreyoshi. Date, 1780- 


1830. 
258—Sworp Mounts Si \ 
ae €=_ (a) Hilt ring and tip of iron, represents a number of peo- ; 


ig ple taking shelter under a road-wide shrine, from an evening 


shower, chiseled in relief and inlaid with gold, shakudo, sil- 
ver and shibuichi. Signed: Tetsugendo Shoraku; seal in- 
laid in gold. Date, 1740-1785. 

(3) Hilt ring and tip of shakudo. En suite. The design 
represents hawks on perches, chased in medium relief and 
inlaid with gold and silver. Signed: Tamagawa Joyei. 
Date, 1810-1840. 


259—Sworp Mounts we CL 


(a) Tip and ring of shibuichi. The story of Omori Hiko- 
(ap ee hichi and the Demon, chased in strong relief, and picked 
fe out swith gold and shakudo. Inscribed: Giyonen shichiju 
Masayoshi (By Masayoshi aged seventy). Date, 1710-70. 
(s) Hilt ring and tip of shibuichi. A grass-hopper (korogi) 
and a dragon-fly in high relief, picked out with copper and 

gold inlaying. By Iwamoto Konkan. Date, 1748-1800. 


First Afternoon 


260—Tir (Kashira) anv Rivne 1n Suakupo Ape 


En suite. The tip represents the Chinese hero Ch’ao-yun 

rescuing the future Emperor Lio-Pei; the ring shows a 

oe e. pursuing rival leader. The figures are chiseled in medium 

~~ relief ; inlaid with copper, gold, shibuichi and silver. Signed: 
Ekijio-sai, or Ichijosai Hirotoshi. Date, 1780-1830. 


261—Sworp Movunts We ; NG "nC 


(a) Hilt ring and tip of copper. Chiseled in low relief and 
picked out with shakudo, gold, shibuichi and silver. Rep- 
resents the God of Thunder (Raijin) creating a tempest. 

y ¢—— Mark (on tip): Toruisai Monjin. The ring is inscribed: 
Koka sannen uma no kikuzuki Watanabe Toshimitsu kore 
wo tsukuru (Watanabe Toshimitsu made this in the Chry- 
santhemum month, of the third year of Koka—September, 
1846). 


(8) Tip and hilt ring in shakudo, with (ishime) shagreened 
surface. Fish in relief, picked out with gold and shibuichi 
inlaying. Signed: Konkan. Date, 1743-1800. 


262—Two Copper Tres anp Two Hirr Rives ap. 
( (For long and short sword.) With basket pattern ground = // 
ne (ajiro-ji) and chased lily blossoms wrought in medium re- * 


lief. Signed: Nomure Masahide. Date, 1780-1810. 


263—Sworp Mounts Sf y YJ 
(a) Sword guard. Guri-bori design. sl Se Cer s : 


WAZ (ws) Knife handle. Deeply cut to show the different layers 
7 — and in imitation of Guri-bori lacquer. 
(c) Kurigata, or sword-knot ring, and pair of Menuki. 
All without mark. Early nineteenth century. 


First Afternoon 


264—Sworp Movunts YY, A y (S 
(a) Hilt ring and tip of shibuichi, with nanako sha 
surface. The Seven Flowers of Autumn, chased Wn low 
relief, and picked out with gold, silver, copper and shakudo. 
[4 — Signed by Ishiguro Masayoshi. Date, early nineteenth cen- 
tury. 
(gs) Tip and hilt ring of shakudo, with shagreened surface. 
Children at play (called Karako), in low relief, inlaid with 
gold, silver, copper and shibuichi. Signed: Hamano Hozui. 
Date, 1700-1760. 


fo. 
265—Sworp Mounts b. 


(a) Hilt ring and tip of/iron. Represents an ancient art- 

\ ‘ ist who has painted a ee with such fidelity that the 

| monster emerges from the canvas. The figures are executed 
in medium relief and picked out with gold. Mark: Tetsu- 

gendo Shoraku. Date, 1740-1785. a 

(8) Sword tip and ring. Of dark bronze, with gold Tori ; 

arch, standing amid trees and herbage of silver. : 


La 
266—-Sworp Mounts - w& 


(a) Hilt ring and tip of iron. The tip represents Raijin, 
the Thunder God, among clouds, creating a tempest; the 
‘ ot ring shows a number of people hastening to shelter in a 
roadside inn. The design is in low relief, picked out with 
gold, copper, shakudo and silver. Signed: Tetsugendo Sho- 
raku. Date, 1740-1785. 
(ps) Tip and hilt ring in iron. En suite. Thunder and 
“Storm gods” chiseled in medium relief and picked out with 
gold and shibuichi inlaying. Signed: Tetsugendo Naoshige. 
~ Date, 1775-1810. 


“he 
* % 
Ca r 


uv 
?267—Two Hitt Rines ann Two Ties 


7? ; In shakudo with ishime surface. The design consists of 
“= children at play, executed in relief; inlaid with gold, silver, 
copper and shibuichi. Signed: Hirata Harunari. Date, 

early nineteenth century. 


g 


First Afternoon 


268—Sworp Mounts 


| h 
(a) Hilt ring and tip of Zaher In high relief, the head 
of a Deva king and a pine tree, picked out with gold and 
copper. Signed: Toshitoyo. Date, 1820-1840. 


7% (8) Hilt ring and tip of shibuichi. The two Rishi of Kwo- — 
“=—— ching Temple, Han-shan and Shih-te (Japanese Sennins 


Kanzan and Jittoku), chiseled in medium relief and picked 
out with gold and shakudo. Inscribed: Katsuri-yuken gi- 
yonen rokujusansai Masayoshi (Made by Katsuri-yuken 
Masayoshi in his 68rd year). Date, eighteenth century. 


269—Sworp Mounts ( 4 LTy (3 


(a) Hilt ring and tip of shakudo, with nanako shagreened 


(Oo es surface, having leaves and blossoms of the Genus Pyrus 


spectabilis in low relief, and picked out with gold. Signed: 
Hisanori.- Date, 1820-1840. 

(s) Hilt ring and tip of shakudo. The ring with silver 
moon rising over boisterous waves, and the tip displays the 
“hare in the moon,” together with rough waves, executed in 
medium relief, with gold. Signed: Omori Teruhide. Date, 
1740-1798. 7 


OF ee 


OW- Genrathe 
270—Sworp Mounts | 5 


(A) Hilt ring and tip of iron. The tip shows a locust and 
the ring sustains a bee, Both are chased in medium relief 
and picked out with gold, silver and copper. Signed: No- 


J ‘<—  puyoshi. Date, 1840-1865. 


/ 


ée*- 


(s) Hilt ring-and tip of shibuichi. On the tip a descend- 
ing stork; the ring sustains a number of pigmies (kobito- 
jima), who are in terror at the sight of the stork. Chiseled 
in medium relief and inlaid with gold, copper and silver. 


Signed: Ichijo-sai Hirotoshi. Date, 1780-1850. 


ty f 
271—Sworp Movnts | ‘EG (0 
(a) Hilt ring and tip in shakudo and silver, the former 
with shagreened (nanako) surface, sustaining peonies and 
pheasants chased in relief and picked out with gold and 
shibuichi inlaying. Signed: Ishiguro Masayoshi. Date, 
early nineteenth century. 


—— 


[Continued 


First Afternoon 


[No. 271—Continued | 
(s) Hilt ring and tip of iron, ornamented with dragon- — 
flies, chiseled in low relief and damascened with gold and 
silver. Signed: Hashimoto Isshi. Date, 1830-1855. 


272—Sworp Mounts e é ne 


(a) Hilt ring and tip of shakudo, with nanako shagreened 
ji surface. Quails among the Seven Flowers of Autumn, exe- 
—_ cuted in medium relief and picked out with gold, copper, 

silver and shakudo. Signed: Ishiguro Koyeyoshi. Date, 

1780-1830. 

(8) Hilt ring and tip of shakudo. Hotei, the God of Good 

Fortune, on the tip, gazing at the moon; executed in medium 

relief and picked out with gold, copper and silver inlaying. 

The ring shows sprays of plum blossoms. Signed: Toshi- 

naga. Date, 1740-1770. 


273—Sworp Mounts me off 
; O 


(a) Tip and ring of shibuichi kiogen, or actors’ masks, 
. strongly chiseled and picked out with gold and _ silver. 
Fé foc Signed: Kanshoji Nagatsune. Date, 1730-80. 

(3) Hult ring and tip of shakudo. The tip shows the god 
Bishamon, and the ring the goddess Benten; in medium 
relief and picked out with gold, silver and copper. Signed: 
Joyosuifu Katsukuni of Mito. Date, 1820-1850. 


ae 


5 a gail 
Se ee ee a ee ee, Oe ee. ae ee A eS - 


274—-Sworp Mounts Fle 9 . 
(a) Fuchi ring of shakudo. Shoki, the Demon-slayer, to- 
gether with a Demon, in high relief, picked out with gold, 
y ° silver, shibuichi and copper inlaying. Mark: Toshi-naga. 
y, Date, 1740-1770. 
(B) Hilt ring and tip of shakudo, with ishime shagreened w 
surface. A group of five masks (beginning from left to 
ring): Okina, Oni, Ofuku, Hangiya and Tengu. Chiseled 
in medium relief in shibuichi, gold, silver, shakudo and cop- 
per. Signed: Sekijo-ken (made by) Taizan Mototeru. 
Date, 1770-1810. 
(c) Sword tip (Kashia) of iron. With gold, in low relief. 


First Afternoon 


275—Sworpv Mounts Oe SY pig e as 


(a) Hilt ring and tip. Shakudo, with (nanako) shagreened 
surface. Design on the ring represents the Sumida River, 
Tokyo, with miyako-dori (wild duck) and reeds, chased in 
silver and gold. The tip (kashira) shows cherry blossoms 

os y& finely chiseled in silver, with golden streaks of mist and a 
distant mountain. Signed: Yoshioka Bungo-no-suke. Date, 
1790-1820. 


(n) Hilt ring and tip of shakudo, with nanako shagreened 
surface. Rats, in medium relief, picked out with gold and 
silver inlaying. Signed: Mitani Shigeyoshi. Date, 1810. 


ne, 
276—Two Hitt Rines (Fuchi) ann Two Tee LD) 


En suite. For long and short sword. Of shibuichi, with 

A J «+ shagreened nanako surface. The rings have strongly chis- 
eled peony blossoms in gold, shakudo and silver. The tips 
(kashira) are in the form of Dogs of Fu (Shi-shi) cou- 
chant. ‘Signed (on both): Omori Teruhide. Date, 1740- 
1790. 


277—Go.p Tip anp Rine i 
With (ananko) shagreened surface. The chased design, ‘ 
AK ast with shakudo, silver and copper, shows three old men who 
“—_are worshipping the moon on the night of (jugo-va) 15th 
of August when the country folks are in the habit of of- 
fering dango (dumplings) to the moon. The tip sustains 
moon and clouds in chased silver, together with a bunch of 
Suski (plumes) and chrysanthemums; such plants are also 
offered with the dango on the 26th day of September. 
Signed: Chikuzanken Motoshige. Date, 1835. 
i ur 
278—Sworp Tir anp Rivne or Bronze 


; Ornamented with duck, crane and bamboo motif in gold. In 
— box. Date, nineteenth century. 
279—Sworp Tir anp Rivne or Bronze vA / AG VVVOO a 
With gold relief, representing a landscape, waterfall fand 
/) gv figure design. Date, nineteenth century. ¥ 
ee 


SECOND AND LAST AFTERNOON’S SALE 


SATURDAY, APRIL 26, 1919 4 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 O CLOCK 


CHINESE SNUFF BOTTLES 


280—CuiInEsE SnNurr Borrie ‘2 Che: a ae ae 


Body of wood, with enameled silver mounting and coral 


oe et Ns ee ~ studded stopper. 


\ = ee 
— pa ee SBS AI 
she 0 i Flat shape; with brown clouding. | eae 


282—CrystaL Cuinesk Snurr Borrre OrLo 6 ene wn 


European style decoration in form of coin and coat-of-arms 


a 
/S (1664). Cut in sunken relief. 


& 
283—ORIENTAL AGATE SNuFF BoTTLE ee “ 


/ se Flat shape; mottled yellow and brown tints, with jadeite 
stopper. 3 
Height, 2%% inches. 


284— Rep Cuinest Guass SNurr Borrie G, hes Se ie 
Jez Flat shape; soft red body, with green glass stopper. 
Height, 21/, inches. 


2985—Larcr SAaRDONYX SnuFF BorrLe 


Pee Flat shape; with brown marking. 


286—Cur CrysTtaL AND SILVER ENAMELED fee Minbar 


] .- With lizard handles and champlevé decoration. Sixt bah 


—— 
century style. 
Width, 24%, by 3% inches. 


Second and Last Afternoon 


CHINESE GLASS, JADES AND SOAPS 


287—GLoBuLAR PinxisH Guass Borrie 


7 J With small neck; blown clouded pinkish glass. Chia Ch’ing 


—.__ (1796-1820). 
eight, 5 inches. 


288—CuHInEsE BiuE Guass Borrie Cee 

ey Octagonal pear-shape; turquoise-colored glass of Jopaque 

/ JS °=— texture, with metallic red flecking on the neck. Made at the 
Imperial factories. Bears etched Yung-Cheng seal. 


Height, 534 inches. 
From the Bing Collection, Paris. 


289—GrospuLtar Rep Grass ee ai WV ALN 


With tubular neck; massive red-colored glass of opaque 


/ O-st — russet texture. Eighteenth century. 
Sr Height, 64% inches. 


290—GtLosuLar YELLOw Guass Bortrx)/ fy G; 


.. With tubular neck; massive canary-yellow glass of semi | 

35 = opaque texture. Made at the Imperial factories. Bears 
seal of the Ch’ien-lung period (1736-1795). 

Heiaht, 9 inches. 


hee” Chprr 
~291—RoskE-coLorED Quartz VASE Cee 


Flat shape, cut with five-clawed dragon in low relief on either 
side; including small handles. The cover is surmounted 


aa S witha Dog Fu of same material. Chinese. 


292—JapE Couper gp ae if 7 


Jadeite carved in form of jar, supported by three small 


Lies, figures. 


Height, 8 inches. 


Height, 2 inches. 


293-—JapE SacririciaL Cup ie As pots: 


White nephrite, with three Buddhist figures, “Shou’/ and 


Ory e. crane; handle in form of bamboo stem. 
— Height, 2 inches. 


Second and Last Afternoon 


294—_Smatut GREEN JapEITE Fisu Vase Ve We DAK 


} Carved in symbolic form of leaping carp. 
3 is YU Height, 3 inches. 


295—Two Coverrep JapE Bowts Xohkate4, ty a. : 


(White nephrite.) Engraved with floral bordering / 
A 0d ae Height, 314 inches. 


296—Gray Nepurite Disu | / 


Form of lotus leaf, interior showing a small turtle. Ex- 
terior with stem forming foot. 


v 
a) oe Height, 21%, inches; width, 514 by 7 inches. 


297—SLENDER JADE ORNAMENT ‘ 

,  Mao-Chia, or Imperial hat holder. With archaic cary 

: LEG = dragon flanges in triangular form, surmounted by a s 
perfume box. Eighteenth century. | 

Height, My, inches. 


if 
298—Dark Green JADE CENSER ?. AANA ) 
(Nephrite.) Oblong form, with round corners; raised on Pee 
four cone-shaped feet. Phoenix handles, with loose rings. 


eet «* Body showing lapidary embellishments in archaic dragon 
and emblematic forms. Including openwork jade cover 
with dragon knob. Has openwork.carved green jade stand 


to match. Height, 6 inches; width, 5 by 3 inches. 
From the Brayton Ives Collection, New York, aN " 
299—Dark GREEN JADE JAR 4 


(Nephrite.) Spinach-toned. Flat shapd/ with/cover and 

.. plant jar attachment; carved with dragon flowers and fungi- 

x yd ~ forms, including undercutting and openwork. Has teak- 
wood stand. Height, 6 inches; width, 9 by 8 inches. 


3800—CHINESE SOAPSTONE AND TTEAKWOOD Scrpex (/, Ls PP ie & OG 7. 
Carved teakwood frame with openwork, resting upon cou- (/ 
chant Fu-dogs and supporting carved soapstone. panel 7 
el _,- (p’ing-feng) in green and brown color, with landscape 
rp “— scene, including pavilion and other accessories carved in 


relief. Eighteenth century. 
Height, 3 feet; width, 2 feet. « 


Second and Last Afternoon 


CHINESE PORCELAINS, BLUE AND WHITE 


| MONOCHROME AND DECORAT | j 
301—SmaLL BLuE AnD WHITE Boe G me a 
With four flattened circular pany sustaining figure sub- 


a & jects in cobalt-blue, including n¥rrow borders and fern 
—— motifs under the glaze. Era of Chia-Ching (1796-1829). 


Height, 1% inches. 


nv & ° 


302—Smatut Bivue anp Wuite Botrie 
With scroll design and leaf border, painted in cobalt-blue 
Gas under the glaze. Era of Chia-Ching (1796-1820). 


Height, 2 inches. 


303—SmaLL Biuur anp WuitrEt BotrieE = Se: ‘ 


With vertical panels in cobalt-blue painting under the glaze, 
u — — representing long slender figures of Chinese women (the so- 
called “Lange Lysen’’), alternately with floral plants. Era 
of Chia-Ch’ing (1796-1820). 
Height, 21, inches. 
US | “ 
304—Buivure anp Wuitre Snurr Botrrre “5 


aa Oviform, white Ch’ing porcelain, with Imperial dragon amid é 
clouds and nebule in quest of the omnipotent jewel. Ren- 
dered in deep cobalt-blue under the pellucid glaze. Foot 
bears four dedication marks; ascribed to the era of K’ang- 
hsi (1662-1722). 

Height, 21, inches. 
305—-BLuE anp WHITE SNUFF us nt Thr pore 
Ovoid shape, soft textured porcelain; decoration, in deep 

/ S$ ~~ cobalt-blue, represents a double bordering of boys at play, 
together with a small swastika band at the neck. The whole 
is under a pellucid crackle glaze of rare quality. Foot 
bears Ming Dynasty mark. Era of Cheng-hua. Has teak- 


wood stand. 
Height, 214 inches. 


Second and Last Afternoon 


Eggshell porcelain; uniformly decorated in cobalt-blue with 
“long Eliza” figure and flower motif under the lustrous 
ay eae glazing. Bears Cheng-hua mark (of the Ming Dynasty). 


Height of cup, 1% inches; diameter of. sqacer, 334, inches. 


307—Buve anp Wuire Sear Conor Box : A, VL Ahkeprty 
Shallow and circular shape (yin-se-ho); Cling porcelain, 


| painted with lotus blossom and scroll motif in white reserve 
i, ee on a cobalt-blue ground, under the brilliant glaze. Bears 
six marks of the Ming Dynasty (apocryphal). Ascribable 

to the era of K’ang-hsi (1662-1722). 


Height, 1 inch; diameter, 21/, inches. 


306—BLvuE anp Wuitrr Cup anp SAUCER 


308—Smatzt Buve anp Wuitret Coupe G 


Low oviform, soft texture, Ch’ing porcelain, with cobalt- 
J po es blue decoration, presenting a series of borders in arabesque 
> scroll and narrow serrated form, under the crackled glazing. 


Era of Yung-Cheng, 1723-1745. Has teakwood stand. 


Height, 1%, inches; diameter, 234 inches. 


309—Buve anp Wuire Wine Cur os fe } VA 
Tall tazza shape, white Ch’ing porcelaih, decorated with 


J *& two dragons and the omnipotent jewel motif, together with 
a border of Taoist symbols and leafage. Bears six marks 


of the Yung-Cheng era (1723-1735). 
Height, 3% inches. 


310—-BiuE anp Wuire Sort-paste VASE at mM (0 
Ovoid shape, soft-textured Ch’ing porcelain, decofatéd with VAAL 


OW — butterflies and chrysanthemum flowers growing near ro¢ks, 
delicately rendered in cobalt-blue under the pellucid glaze. 
Era of Ch’ien-lung (1723-1735). Height, 5 inches. 


3$11—-Buvurx anp WuiteEe CaBINneEtT BotrTLEe / ‘4 Ab Yerrk, 
Pear shape, with slender neck; white Ch’ing porcelain pre- 
* 5S ~< senting landscape decoration in cobalt-blue under the bril- 
liant glazing, including silicic peaks, lake and boatmen. 
Era of K’ang-hsi (1662-1722). Has teakwood stand. 
Height, 51% inches. 


Second and Last Afternoon 

312—Btivur anp CuHamois CoLorED SPRINKLE BorrLe u 
Pear shape, with long tapering neck; Ch’ing porcelain, — 
coated in light café-au-lait or ts’u-chin chamois-colored 
glaze, with three white reserved circular medallions sustain- 


Af ‘ling blue chrysanthemum decoration. Era of K’ang-hsi 


(1662-1722). 
Height, 7, inches. 


3138—B.LivuE anp WHITE Jar Y- Y ADMBY 
sv Ovoid shape, with short neck; white Ch’ing eigen of 
— fine texture; the decoration, in brilliant cobalt-blue presents 
palmette leaf and diamond-shaped panels, together with 
serrated and scrolling blue borders, painted under the 
lustrous glaze. Foot bears the “Ai-Yeh” leaf mark with 
fillet. Era of K’ang-hsi (1662-1722). (Slightly injured.) 
Height, 51%, inches. 


314—BuivurE anp Wuite Sort Paster Ko) (Seger 


Graceful oviform, with slender ano and everted rim; soft 

fo J *= — white textured Ch’ing porcelain, decorated with varied bor- 
dering.in deep cobalt-blue. Showing a palmation at the 
neck and a scrolling arabesque design with small blossoms 
below; shoulder sustaining a lanceolated band in like shade 
of brilliant blue under the uniform small crackle and lus- 
trous glaze. Era of Yung-Cheng (1723-1735). 


Height, 74, inches. 


315—BLvueE AND WHITE SOFT-PASTE Vas Ty ty 8 Lappe t 
¢ 


o- i ie Gr aceful baluster shape, with small everted neck. Soft white 
textured Ch’ing porcelain; the cobalt-blue painting showing 
a series of narrow bands at the neck, in palmation and 
lanceolated forms, and scrolling rinceaux motif with small 
convolvulus buds around the body, in uniform brilliant blue 
under the pellucid crackle glazing. Era of Yung-Cheng 
(1728-1735). 


Height, 7 inches. 


Z 


Second and Last Afternoon 
Z 


316—Buvr anp Wuitre Casiner Vase \/- we Va, fg e tN 


| as 


3$17—BLuE anp WuitEt HawTHorn JAR 


BRET 


Graceful oviform, with everted neck; bet textured ive 
porcelain; presenting a branch of the (mei-hua) wild 
prunus tree, with blossoms and pair of birds, painted in 
cobalt-blue under the pellucid glazing. Ascribable to the 


era of Yung-Cheng (1723-1735). 
Height, 73/4, inches. 


Ovoid shape, white Ch’ing porcelain, presenting small 
clusters of mei-hua blossoms (the so-called ‘hawthorn’ 
motif), in white reserve against the deep blue ground, which 
sustains reticulation of darker blue criss-crossed lines to 
resemble cracking ice. Era of K’ang-hsi (1662-1722). Has 


teakwood cover. 
(\ Height, 51/, inches. 


3818—Buve anno Wuitrt Borrie fe ite Wl hhnrtr 
u 


ps 


Pear-shaped; soft white crackled téxture, decorated with 
three borders in deep cobalt-blue showing palmettes at neck. 
Yung-Cheng. 

etapa) 7, inches. 


319—Buure anp CHamois Cotorep BorrLe (ao (3 epee kA 


is 


~ of uniform and rare quality. Ascribed to the era of K’ang- 


Gourd shape, with bulbous neck. Ch’ing porcelain of fine 
texture; upper section with cobalt-blue medallion and scroll 
decoration, alternately presenting gift objects, lotus flowers 
and rabbits under the glaze. The lower section in mono- 
chrome, sustaining a café-au-lait colored (tz’u-chin) glaze 


hsi (1662-1722). 
Height, 9 inches. 


. eee a, ey 
820—Buvur anp WHirTeE JAR Aho 


AD 


Ovoid shape, Ch’ing porcelain of fine texture; decorated 


“with four chrysanthemum medallions and small scrolling 


(curvilinear edged) borders in deep cobalt-blue under the 
brilliant glazing. Ascribed to the era of Yung Cheng (1723- 


1735). Has teakwood cover. 
Height, 7 inches. 


Second and Last Afternoon 


321—Buvue anp WuitE BotTrTLe Ute Qua, 
Pear shape, with slender neck; Ch’ing porcelain of fine tex-V 


ae ture, presenting the “Vandyke pattern,” or form of lancet 

& § “—  escalloped borders, enclosing floral and arabesque motifs; 
painted in deep cobalt-blue under the lustrous glaze. Era 

of K’ang-hsi (1662-1722), 


H eight, 914, inches. 


322 Brur anp Wuitrre Manparin Vase “ a “ 


Biberon shape, with small neck, soft paste Ch’ing porcelain, 
LK 0 ‘= with so-called orange-peel surface, sustaining two vertical 
landscape panels, with view of hills, lake and young fisher- 
men under the crackle glaze. Era of Ch’ien-lung (1736- 


1795). 
Hight, 81, inches. 


323—LarGcE BLUE AND WHITE Bowne ‘ 


Escalloped edge, with vertical ribbing; the exterior 

i) Gis senting “Lange Lysen’’ figures alternately with wild p®unus 
— blossoms (mei-hua) and plants painted in deep cobalt-blue 
under the lustrous glazing. The interior sustains a medal- 

hon with (mei-hua) blossoms. Era of K’ang-hsi (1662- 


1722). 
81/4, inches 


Height, 4.inches ; , diameter, t , 
eats Buve Hawruorn PLate 


ie Dyes White Ch’ing porcelain; panel and/border in deep co 
blue painting under the brilliant glaze; presenting cluster- , 
ings of wild prunus (mei-hua) blossoms, reserved in the . 
white upon a field of undulating cumulus-blue with reticula- 
tion to represent breaking ice. Underneath, the panel bears 
a lozenge mark with swastika symbol and fillets. Era of 
K’ang-hsi (1662-1722). 


3825—Larcr BuuE AND WHITE i OLE see, 


J ~ 44: | White Ch’i ing porcelain, with cobalt-blue decoration under ‘i 
the brilhant glaze; representing two dragons amid cloud 
and nebule forms in pursuit of the effulgent jewel. Under- 
neath the foot, panel bears an Artemisia leaf mark. Era 
of K’ang-hsi (1662-1722). Diameter, 131% inches. 


er, 137% inches. 


Second and Last Afternoon 


326—Larce BuvuE anp WuitrE PLATE 


Deep shape, white Ch’ing porcelain, with bein hale 
blue decoration under the glaze; panel showing Mandarin 
/ Por figure subject, including a rider on dappled horse. Border 
~~ with leaf-shape medallions, sustaining alternately “Long 
Eliza” figures and rockeries against a ground of swastika 
fret pattern. Underneath, panel bears six marks. Era of 
K’ang-hsi (1662-1722). 
Diameter, 1334 inches. 
i 
327—BivuE anp Waite HawtHorn WINE Jar OA f me 
Tall gallipot, so-called Temple jar (Mei-hua-Kuan), white- 
. = Ayaan textured Ch’ing porcelain, with blossom bearing branches 
of the (mei-hua) prunus tree growing alternately upwards 
and downwards, reserved in the white against a modulated 
blue background of brilliant quality with network of criss- 
crossed lines in darker shade of cobalt-blue, resembling the 
fissures in breaking ice, emblematic of the near approach 
of spring. ~The neck is encircled by a narrow dentated 
band and fungus border. Foot bears ring mark; ascribable 
to the era of K’ang-hsi. (1662-1722.) 
Height, 13 inches. 
From Captain Brinkley’s Private Collection, Japan. 
| C) 
328—PorcetaIn SNuFF Borrie Xe 
i With raised embellishment, presenting a pleasure boat with 
ey —— the eight Pa-sien or Taoist genii. Glazed in polychrome 


colors. 


SmMALEL PoLYCHROME BorTrTLEe A Sebernrath ye 


Ch’ing porcelain, with slender neck ; Silnvg in green, pink 
esd ct and yellow marbleized glaze. Era of Chia-Ch’ing (1796- 
oa 1620). 


Height, 3 inches. 
o : 
3380—Decoratep Snurr Borrie | ee KDE 
z Bulbous oviform; Ch’ing porcelain; with red dragon deco- ac 
gee. ration in soft-toned bean-red amid grayish clouding. Foot 
bears apocryphal mark in four characters. Ascribable to 


the Ch’ien-lung period. 
Height, 31/4, inches. 


Second and Last Afternoon 


331—Smatut DeEcoratTep VASE ome 9 


—eEet 


i 


3382—DercoraTEp YELLow Water Cu 


& 


aoe 


Oviform, with small handles; body covered /in coral-red 
glaze with gold decoration and panels in white reserve, 
holding landscape and poetic inscriptions alternately. Era 
of Chia Ch’ing (1796-1820). 

Height, 31 inches. 


Shallow shape, Ch’ing i “uniformly covered 
in brilliant yellow glaze and decorated with green lotus 
scroll motif. Foot bears six blue marks. Era of Yung- 


Cheng (1723-1735). Has teakwood stand. 
Height, 1 6) ( . 2 inches. 


333—FamitLeE VeRTE WINE Cup 


3 0 no ae 


3384—MarsLeEizep Rep anp Gray Vases Laat 


_— 


Semi-eggshell porcelain ; decorated with ee 


figure subject, in varied colors of the ‘famille verte” genre. 
Era of K’ang-hsi (1662-1722). 


Height, 1%, inches; diameter, 2%, inches. 


Oviform, with everted neck; Ch’ing porcelain, soft red, blue 
and gray marbleized nes Era of Chia-Ch’ing (1796- 


1820). 
Height, 334 inches. 


3385—SmaLL Decorated CouPE (Aa 


e ~ 


Looe 


336—SmaLL Rep anp Gray VASE 


Se 


Globular form; Ch’ing porcelain, presenting a pure white 
glazed body with archaic lizard forms and narrow borders 
in blue outline under the glaze, together with yellow, red 
and green overglaze decoration. Era of Ch’ien-lung (1736- 
1795). Has teakwood stand. 


Height, 2 inches; ee 21, inches. 


a 


Oviform, with everted neck; Ch’ing porcelain, covered in 


— marbleized pink and gray glaze. Era of Chia Ch’ing (1796-_ 


1820). 
Height, 4 inches. 


fate! 


Second and Last. Afternoon 


337—MarBueizEp Rep VasE cy , LS o 


Oviform, with everted neck; covered in marbleized pink and 
us “yellow glazing. Era of Chia-Ch’ing (1796-1820). 
Height, 4 inches. 


338—SMALL Metatuic Brown AND GREEN BOTTLE , 


Pyriform, kaolinic stoneware, presenting a metallic 
body, with green overglazing in cloud forms. Foot shows 
we E brown-stained biscuit texture. Era Ch’ien-lung (1736- 


1795). 
Height, 41/, inches. 


From the Brayton Ives Collection, New York, 1891, 


- 


3389—Smatu_ Harieauin VAsE 
at (ges Pyriform, with everted neck; coated in harlequin soufflé 
~~ glaze in polychrome colors, including blue, pink, green and 
gray tones. Era of Chia-Ch’ing (1796-1820). 
Height, 41, inches. 


840—Smatyi Pink Graviata DECORATED vaskOLfy WE Abs eae ae 


Pyriform, with slender neck; Ch’ing porcelain, covered in 
wo. +7 __ pink enamel which sustains a delicately incised scroll pat- 
tern, together with floral painting in varied colors; in- 
cluding a morning-glory in full blossom. Foot bears small 
red seal mark on green ground. Era of Chia Ch’ing (1796- 
1820). Height, 4° inches. 


341—Decoratep Corat Rep Borrie ~ & 
oz _,  Pear-shape: (cabinet size); Ch’ing porcelain, covered in 
——-opaque coral-red glaze and sustaining a bamboo motif in 
gold. Foot bears seal mark. Era of Ch’ien-lung (1736- 


1795). Height, 5 inches. 
342—Smatt DecoraTED VASE Gy) ty ie 5 
Globular body, with flaring neck; Imperial Ch’ing porcelain, “eran, 
J 7s 2 richly decorated to represent turquoise-blue cloisonné 
~—— enamel work, with small mei blossoms in pink and diapered 
reticulation in gold. Neck showing palm-leaf border out- 
lining in blue. Interior of neck in pale pistachio-green and 
the foot in white soufflé glazing. Era of Ch’ien-lung (1736- 
1795). Has teakwood stand. 
Height, 3%, inches; diameter, 3 inches. 


Second and Last Afternoon 


343—ReEp ano Wuttre DECORATED as Va 


Graceful oviform shape, with everted neck. Ch’ing porce-— 
lain, with brilliant red overglaze decoration presenting two 
34 ‘= Feng-huang or phenix birds upon a vermiculated red back-_ 
ground, together with floral sprays. Era of K’ang-hsi 
(1662-1722). 


344—TorToisE-SHELL GLAZE Veen 7 ia Si 


Bulbous pyriform, with everted neck; Ch’ing porcelain, 
covered in brilliant yellow glaze with brown flecking re- 
(PRE sembling tortoise-shell colors. Era of Ch’ien-lung (1736- 
otra, too): Height, 51/, inches. 
From Captain Brinkley’s Private Collection, ee 


345—DeEcoraTED Bown Aanp CovER Wiese (Spr 


White Ch’ing porcelain; decorated with flowered ‘crest forms 
freely dispersed on the white ground in varied design and 
y Hine coloring. Interior decorated, showing delicately rendered 
buds in white enamel over the glazed body. Bears mark: 
“Made for the Lord of the Hsieh Bamboos.” Era of Chia- 
Ch’ing (1796-1820). 
Height, 3 inches; diameter, 41%, inches. 
From the Brayton Ives Collection, New York, 1891. 


346—PownpER-BLUE T'EAPOT 


white Ch’ing porcelain; deep powder-blue soufflé glazing 
with gold scrollwork, presenting two oblong panels, reserved 
in the white, and separately decorated with peony and chry- 
santhemum motifs in transparent colored enamels of the 
“famille verte” genre or glaze. Era of K’ang-hsi (1662- 
1722). Without cover. 


Cylindric form, with side handle and upturned spout. 
[eR 


Height, 3%, inches. 3 


/ 2 —MasstvE Porcenain Bown SY eS A fnela 
— Covered with red and black marbleized glaze mANivaton 
of old soapstone. Interior with gilding. Foot bears blue 


seal. Era of Ch’ien-lung (1736-1795). 
Height, 134 inches; diameter, 414, inches. 


Second and Last EGER GON 


348—Yerttow Graviata Mepariion Bown NM Magn 
— Ch’ing' porcelain; exterior presenting a aides gra- 
viata” or brocaded ground, with rose-colored overglaze  , 
og — decoration in form of small vases and flowers, alternately “~- 
with four white circular medallions separately sustaining 
sheep objects. White interior, decorated with sheep me- 
dallion, Buddhist emblems and flower in blue under the glaze. 
Foot bears blue seal. Era of Chia-Ch’ing (1796-1820). 


Height, 21/, inches; diameter, 5%, inches. 


3849—REMARKABLE FamILLE Rost Borrie oh 


Graceful biberon (mei-p’ing) shape, with small neck. Pure 
white Ch’ing porcelain of fine texture; the “over-glaze” 
; . decoration, in delicate and half-toned enamel colors of the 
- f Gd ~ ‘famille rose” genre, presents a clustering of yellow and 
pink peony flowers with green herbage, growing near rocks, 
above which appears a “feng-huang’’ or phoenix bird-of- 
paradise, in-radiant plumage, showing all the enamel colors 
of the eighteenth century palette. A most distinguished and 
rare example in composition and quality of its class. Foot 
bears Imperial factory mark. Era of Ch’ien-lung (1736- 


1795). 
Height, 9 inches. 


350—Decoratep Rep ann Wuirt Dracon Vee Z Re 


Amphora shape, with small neck; white Ch’i ing porcelain, 

., sustaining a pair of “Imperial” d seat together with 

a, — nebule decoration in soft peach-red tinder the pellucid glaz- 
ing. Foot bears six marks of the K’ang-hsi period (1662- 


1722). (Has slight crack at neck.) 
Height, 8% inches. 


351—DecoraTep EccsHett Lantern (T'o-tat Tengl/O nN : Cp 2AK 


Ovoid shape; thin white porcelain, with “famille verte” deco- 

ration, representing a pheenix bird (feng-huang) and 

S3y ~. dragon motif, together with the jewel of omnipotence ; red 
“— nebule and conventional cloud scrolls on a pure white 


ground. Era of Ch’ien-lung (1736-1795). 
Height, 81, inches. 


Second and Last Afternoon | 


Square shape; white Ch’ing porcelain, decorated\ with floral. 
J «* and butterfly motif in light enamel colors of the “famille 
jul | rose” genre, including emblematic pomegranate fruit, cherry 
blossoms, orchids and “ling-chi’ (sacred fungus) on a lus- 
trous white ground. Era of Chia-Ch’ing (1796-1820). 
Height, 43, by 61% inches square. 


352—DrcorAaTED FAMILLE Rosé. nines is 


3853—DeEcoRATED PLATE 
White Ch’ing porcelain; pancl With chrysanthemum motif in 
ue ew polychrome enamel colors in free overglaze rendering on a 
pellucid white ground and with fluted border. Underneath 
panel bears six marks in blue under the glaze. Era of Yung- 


Cheng (1723-1735). 


Diameter, 7 inches. 


354—DecoratEep Rost-pack PLATE u > 


Eggshell porcelain, of fine texture, with “famille rose” deco- 

ration, representing three roosters together with pink peony 

flowers growing near rocks; delicately rendered on a ground | 
og: — of lustrous white. The border is finished with delicately v 

flowered green diaper pattern. (Has slight mending.) Era 

of Ch’ien-lung (1736-1795). 7 


Diameter, 734 inches. 


355—DecoraTeD- PowpER-BLUE PLATE Dig trnastOeg 
Ch’ing porcelain; presenting five panels, in white foliated 


A and fan-shaped reserves, separately decorated with red and 

LA ) = blue blossom motifs on a ground of powder-blue soufflé glaze. 

Foot bears “Hall” mark within ring. Era of K’ang-hsi 
(1662-1722). | 

Q iameter, 9 inches. 


Fae ae 
es White Ch’ing porcelain, presenting a scroll-shaped panel 
4 ~~ in polychrome enamel colors, with floral and bird, design, 
including butterflies on white ground, field and bordering 
with flowered diaper patterns, “famille rose” genre of the 
eighteenth century. Era of Ch’ing (1736-1795). 


Diameter, 9 inches. 


356—FaAmiILLE Roszt DEcoRATED PLATE 


Second and Last Afternoon 


397—FamILLE RosrE Pate rel is et 
With floral panel and border, sustaining alternately floral 
and landscape decoration in polychrome enamel colors on 


a — white ground. Era of Chia-Ch’ing (1796-1820). 


Diameter, 9 inches. 


358—Two Famitte Rose Piatres ue GES SP 


Ch’ing porcelain, decorated with polychrome floral panel 
and border in typical “famille rose” genre over the white 


—i~b 
JS ~—body glaze. Era of Chia-Ch’ing (1796-1820). 


Diameter, 10 inches. 


/ 
359—FamitueE Rost Puate 


Deep shape, with floral decoration in polychrome enamel 
/ 4? colors of the “famille rose” genre, including free border with 
~— fruit motifs. Era of Ch’ien-lung (1736-1795). 


Diameter, 11 inches. 


359a—F amMILLE Rost PLATE Mn - (3 


ia ,» Deep shape, with floral decoration in polychrome colors 
; —— of the “famille rose” genre on white ground. Era of Chia- 
Ch’ing (1796-1820). 


Diameter, 11 inches. 


360—Larer Decoratep PowpER-BLUE pO, ence 


Deep shape; Ch’ing porcelain. The powder-blue soufflé body 

_,. sustaining slight gold embellishment, together with five re- 

ie aK “served panels in white foliated form; separately decorated 

with floral motifs in ‘‘famille verte” genre. The center panel 

including a féng-huang (pheenix) birds. Border on reverse 

side is glazed in powder-blue, and the white panel bears a 

lozenge shape (Pa Pao) mark with fillet. Era of K’ang-hsi 
(1662-1722). 


Diameter, 11 inches. 


( 7 ; 
/ 


Second and Last Afternoon 


361—Tatt Powprr-siur Vase (Bleu fouetté) S L YAM. 


(Ch’ui-Ching-Yao.) Cylindrical form, with sloping shoul- 
der and attenuated neck (so-called club-shape); Ch’ing © 
7 9 J ‘—_ porcelain. Covered in powder-blue soufflé glaze of deep 
mazarin tone which sustains a supplementary decoration 
in gold floral and scroll design, relieved by three large verti- 
cal panels and a series of small upper and lower medallions, 
reserved in the white and separately painted with floral, 
landscape, and emblematic objects in transparent colors of 
the “famille verte” genre. Rare quality. Foot bears ring 
mark. Ascribable to the era of K’ang-hsi (1662-1722). 
Height, 1714, inches. 


From the Brayton Ives Collection, New York, 1891. 


- 862—T att PowpeEr-BLvuE Vase (Bleu fouetté) n u 

Base with ormolu mounting in Louis XV design. Cylindri- 

/ ( J ‘“— cal form (so-called club shape), with attenuated neck. 
Covered, in powder-blue soufflé glaze of deep mazarin tone, 
with supplementary gold floral and insect painting. ‘The 
reserved white vertical panels sustain symbolical floral mo- 
tif of the ‘Four Seasons” (Ssu-chi-hua) 1.e., peonies 
(mutan) for Spring; lotus (lien-hua) for Summer; chry- 
santhemum (chu-hua) for Autumn; wild prunus blossom 
(mei-hua) for Winter; freely rendered in transparent col- 
ors of the “famille verte” genre. The shoulder and neck 
sustain other small white reserved panels with floral paint- 
ing in similar colors. Era of K’ang-hsi (1662-1722). | 
( Mended.) 


Height, 1914, inches. 


368—Larce Buve anp Rep Decorate Borrit 
Bulbous form, with tubular neck; white Ch’ing porcelain; 
} / j «+ decorated with peach-red dragons disporting amid scrolling 
cobalt-blue clouds and nebulae forms above a bordering of 
waves, shown at the base to represent the sea under a pel- 
lucid and perfect glazing. The panel underneath bears 
seal mark of the Ch’ien-lung period (1786-1795). las 


carved teakwood stand. 
Height, 19 inches. 


Second and Last Afternoon 


Y ais 
364—Larcre Famitte Verte Vase Vy . 1 i Pole 
Tall oviform, with French ormolu bronze mounting at up- 


per rim and base. Presenting floral plants with pheasant 
and symbolic Mandarin flowers, growing amid rocks and 

ve i «~ herbage, in the varied colored glazes of the “famille verte” 
genre, including guelder-roses, peonies and wild plum (mei- 
hua) blossoms, in free and vigorous rendering on a pellucid 
white ground. Date, nineteenth century. 


Height, 27 inches. 


SINGLE COLOR PORCELAINS 


365—TvurevuolsE-BLUE SNuFF BoTTLe 


Cylindrical form, with small neck; Ch’ing/ ; elain, cov- 
re ered in turquoise-blue glaze. Era of Tad-Kuahig (1821- 
eo 1850). 


Height, 21% inches. 


366—SMALL Caré-au-Lait VASE a Oarnrela 
Pyriform, with everted neck; Ch’ing porcelain, covered in 


st monochrome café-au-lait glaze of even texture. Era of 
ef} — Yung-Cheng (1723-1735). 
Height, 3 inches. « 


367—Rep anp Gray SouFFLE SnuFF BotrLe . CYL 


Slender oviform, with everted neck; covered in and gray 
speckled soufflé glaze. Era of Chia-Ch’ing (1796-1820). 
pe nad 
wa Height, 3 inches. 


368—MIntaTURE CAMELLIA-GREEN VASE OL (9 
Ovoid shape, with flaring neck; Ch’ing porcelain, covered in 
oy 6” green-blue soufflé glaze with crackle. Era of Chia-Ch’ing 
(1796-1820). 
Height, 3 inches. 
369—Wuitrt Water Covure Oo a gare’ . 
Low globular shape, soft-textured paste, with small band 


incised under the creamy-white glaze. Era of Yung-Cheng 


le (1723-1735). Has teakwood stand. 


Height, 1 inch; diameter, 214 inches. 


Second and Last Afternoon 


370—MusTARD-YELLOW SNUFF BOTTLE VY: thane 


ree Ovoid form, with small neck; Ch’ing porcelain, covered in 
S  ~  mustard-yellow glaze and green-glazed interior. Era of 


Chia-Ch’ing (1796-1820). 


Height, 21, inches. 
37 1—-SMALL GRAY CRACKLE BoTTLE sd- 


Graceful oviform, with slender neck Spreading at rim; dense 
/ J **  _Ch’ing porcelain, covered in gray crackle glaze of fine tex- 
ture. Era of Ch’ien-lung (1736-1795). 


eight y3/inches. 
Yam - - 
372—Meratiic Brown-coLorED SNuFF BoTru 


Pe Biberon shape; Ch’ing porcelain, covered with copper- 
y —— brown glaze, with soufflé texture. Era of Ch’ien-lung (1736- 
17953 


Height, 2°, inches. 


/373—Smatit Rep anp Gray Borrie 


Pear shape, with short everted neck/; Ch’*mg porcelain, coy- 


xf ered in white glaze with red soufflé clouding. Era of Tao- . 
| Kuang (1821-1850). F 
SU ‘& Height, 3 inches. 2 

7 ee Se a 
374—SNUFF Botte ai ‘ 


Ovoid form, with small neck; covered in mustard-yellow 


glaze. Era of Chia-Ch’ing. : 
Ae MAb ret 
UEFLE COUPE 


Ovoid shape; Ch’ing porcelain; white body with pink 
) ag soufflé clouding under the glaze. Era of Chia Ch’ing (1796- 
1820). Has teakwood stand. 


Height, 1%4 inches. 
376—Wuite Wine Cup (2 BAL ' May ee : 


Eggshell porcelain, with delicately engraved dragon and 
/ y@ floral design under the glazing, visible only if held against 
— a strong light. Bottom bears mark with six characters of 

the Chia Ch’ing period (1522-1566). Ming Dynasty. 


Height, 14% inches; diameter, 21% inches. 


SmMaLL Pink Aanp Wuitre So 


375 


From the Brayton Ives Collection, New York, 1891. 


Second and Last Afternoon 


377—SMALL WuirE Saucer CVn rs qy1%r— 


_ Shallow lobed shape, with lightly engraved dragon design. 
/ g, gv Bears impressed Ch’ien-lung seal mark underneath. 
ia 


Diameter, 3 inches. 


378—Rep anp Gray SourrLtt Snurr Borrie We Waekheonrean 


Ovoid shape, with small neck; covered in/ red and gray 
/ 2 flecked soufflé glaze. Era of Chia-Ch’ing (1796-1820). 


Height, 3 inches. 


379—Smatt LicHtT RED Vase ere 


Oviform, with everted neck; Ch’ing porcelain, covered in 
Sts soft peach-red glaze with gray clouding. Era of Ch’ien-lung 
we; (1736-1795). Height, 3 inches. 


380—SmaLu Rep Frampt Water Coupe ae A 
A Low circular shape; Ch’ing porcelain, covered in mono- 
‘a J —~_ chrome sang-de-beeuf flambé glaze of brilliant quality, with 
white glazed interior and biscuit foot of fine technique. Era 
of Ch’ien-lung (1736-1795). 


Height, 114 inches; diameter, 254 inches. 


381—Smatt Monocurome Rep Jar at: 

Ovoid shape; Ch’ing porcelain, covered in soft bean-red 
glaze, showing the pear-skin texture. Era of Chia-Ch’ing 
(1796-1820). se 2 inches. 


382—SmatL Wuitre Tra JAr L. (Ona 


Perfect globular shape, with ivory cover; early Ch’ing por- 

32a celain of fine texture, sustaining a small and delicately in- 
~——. cised floral motif under the lustrous white glaze. Foot bears 

four marks in blue. ‘T’ien-Ch’i (1621-1627). Has teak- 


wood stand. Height, 21, inches; diameter, 21% inches. 


383—MotrTrLep Rep Water CovurE | if eee AGB 9 ’ 
Low circular shape; Ch’ing porcelain; coated in séft peach- < 
J sz red glaze with pigeon-blood clouding of leah texture. Foot 
~—_ panel in buff crackle glaze. Era of Ch’ien-lung (1736- 
1795). Has teakwood stand. 


Height, 1, inches; diameter, 3 inches. 


«et 
—_ 


Second and Last Afternoon 


384—SmaLL MonocHromMeE Mazarin Buvut Botrrie 


Pyriform; Ch’ing porcelain, covered in mottled mazarin blue © 


| a4 ¢- soufflé glaze with clouding; powder-blue variety. Era of 
K’ang-hsi (1662-1722). 


Height, 4 inches. 
385—SmaLt Coprer-BrowN VASE Aree t 


Oviform, with everted neck ; kaolinic stoneware, stained and 
aN covered with copper-brown glaze of metallic texture. Era 
of Ch’ien-lung (1736-1795). 


Height, 41% inches. 


386—Sorr Rep Snurr BortTie LN 
2 Cylindric shape; Ch’ing porcelain, covered uniformly in 
/ év “bean-red” glaze approaching the color of the peach. Era 
Ties of Ch’ien-lung (1736-1795). Has teakwood stand. 


Height, 3% inches. 


387—SMaLu Iron-Rust BoTTLE i? ieee “ 
3 Biberon shape; semi-kaolinic stoneware, covered in fine 
[eo oS _ speckled “‘iron-rust” soufflé glaze of uniform texture. Era 
of Yung-Cheng (1723-1735). Height, 4 inches. 


388—RovcE-pE-FER Rep VasE QO, 


Ovoid shape; Ch’ing porcelain, with small handles covered 
js ¢ in monochrome salamander-red glaze (couleur de moufle) of 
brilliant coral red color. Era of Chia-Ch’ing (1796-1820). 


Height, 4 inches. 
389—WuitE WarTer Covurr \. LD 
—-) 2 Shallow globular form, soft tee(geed paste, with delicately 


incised fret and fringed bordering, under the ivory-white 
glazing. Fen-Ting Yao genre, of the Yung-Chéng period 


(1723-1735). Height, 117, inches; diaygter, 334 inches. 
390—MonocHrRoME EMERALD-GREEN OND (rat Og 


Gallipot shape; semi-kaolinic stoneware; covered with a uni- 
form dark green glaze of brilliant emerald tint (gros verte), 
showing fine crackle texture. Era of Yung-Chéng (1728- 
1735). Height, 41% inches. 


tA ae 


~oceeeetk |) 


Second and Last Afternoon 


391—SmatL SeuaRE PEACOCK-BLUE VASE ee es 


Quadrilateral shape, with round attenuated neck and base; 

* ; Ch’ing porcelain, the four corners sustaining the eight Mys- 
J Pe tical Trigrams of divinations (Pa Kua) in low relief under 
the monochrome peacock-blue glaze of the Fei-ts’ui Yao 


genre. Era of K’ang-hsi (1662-1722). 
Height, 41/, inches. 


392—Smat~t Monocurome Copper Brown Borer 


: Biberon shape (mei p’ing); Ch’ing pofeelain, uniformly 
| rg J ‘—___ coated in copper-brown glaze with metallic soufflé of the 
i— “iron-rust” variety. Era of Yung-Chéng (1723-1735). 


Height, 41%, inches. 


393—SmMALL MustTarp-YELLow VASE LY. vs - 
Oviform, with everted neck; semi-kaolinic Ch’ing porcelain, 
covered in mustard-yellow glaze with small crackle and uni- 


form texture. Era of Chia-Ch’ing (1796-1820). 
Height, 454 inches. 


es | 
eS ie 394—_Smatut TEA-LEAF VASE rad 
Oviform; semi-kaolinic stoneware; covered in olive-brown 
with “tea-leaf” soufflé flecking. Era of Ch’ien-lung (1736- 
1795). 


Height, 4°, inches. 


395—SmaLL WuirE Capinet VASE : 
Oviform, with small everted neck; soft whyte-textured por- 
3 a «* __celain, with delicately incised floral motif under the pellucid 


glaze. Era of Yung-Chéng (1723-1735). 
Height, 4°/ inches. 


396—Wuitr CaBinet Borrie oy ‘ 


Pear shape; Ch’ing porcelain, with slight undulating surface 
3 a under the pellucid white glazing. Era of Tao Kuang 


(1821). 
Height, 54% inches 


rth, 


Second and Last Afternoon 


397-—_Mottiep FEI-ts’u1 BLUE Verne He _ . 


Quadrilateral shape, with attenuated neck; semi-kaolinic 

wy yo” porcelain, covered in brilliant peacock and turquoise-blue 

clouded glaze, with crackle texture. Era of Chia Ch’ing 
(1796-1820). 

Height, 51% inches. 


398—MonocHroMeE Rep FLAMBE a JAR Yo Llanhey 


y2 Cylindric (pi-t’?ung) shape; Ch’ing porcelain, covered in f 
——  bean-red flambé glaze of varied tones and showing crackle. 
Under base coated in celadon crackle. Era of Yung-Chéng 
(1723-1735). 


Height, 41/, inches. 


RM. Arye 
399—MonocuromME Musrarp-YELLow BorTrrTLe 
th J ‘= Pear shape; massive semi-kaolinic Ch’ing porcelain, covered 
in “mustard-yellow” glaze with fine crackle and iridescent 
texture. Era of Chia-Ch’ing (1796-1820). 
Height, 51% inches. 


From the Mary J. Morgan Collection, New York, 1886. 


ny \y et 

400—Wuire EcesHert Porcenarn Bown |} m 

AO ‘~ With escalloped indented rim and translucent texture, pre= 
senting dragon disporting amid cloud forms, delicately en- 
graved and only visible when held directly against a strong 
light, including the K’uan mark which appears faintly 
traced in the disk which forms the bottom of this bowl. 
*Yung-Lo-nien-chih.” (Mended at rim). 


Height, 2 inches; diameter, 614, inches. 


From the Charles A. Dana Collection, New York, 1898. 


401—MorttTLep BuvE VasE 
Ii52 Oviform body with long neck; semi-kaolinic stoneware, cov- 
~~ ered in brilliant turquoise-blue glaze, with sapphire-blue 
clouding and crackle texture. Era of Ch’ien-lung (1736- 


1795). 
Height, 514 inches. 


1. Oe 


Second and Last Afternoon 


402—Smauut Rost-pu-Barry Vase WVX%- SL, 
Oviform, with everted neck; covered in rose soufflé glaze 
1 pt TS showing orange peel surface. Era of Chia-Ch’ing (1796- 
1820). 
Height, 5 inches. 


403—MonocuroMe AsHEN Gray VASE pw } 
Oviform, with flaring neck. Dense kaoltnic stoneware, 
- aad fe coated, with a light gray crackle glaze, including red flambé 
flecking on the rim of neck. Era of Chia Ch’ing (1796- 


1820). 
Cae 6 inches. 
Le rg, We 
404—Tron-rust Pottery Vase \ ( eat? 


jf *=_ Gourd shape; brown Japanese pottery, with copper-colored 
ground glazing with “iron-rust” (Seto-Kusuri) overglazing. 
Early nineteenth century. 
Height, 51% inches. 
405—Darx Brown Framsi Vase (Yao-pien) UJ" ¢ G 
Gourd shape; semi-kaolinic porcelain, coated in deep brown 
7)? * and purple flambé glaze. Chia-Ch’ing (1796-1820). 


Height, 7 inches. 


CALe 


406—-MonocHromMeE TuRQUOISE-BLUE CABINET Vitti ny S/N ine? 
r- 


it Oviform, with short everted neck; dense semi-kaolinic - 

— celain, invested with turquoise-blue glaze of the Kung-chuo- 
lu genre, showing so-called shad-roe (yu-tzu) crackle and 
uniform texture. Era of Ch’ien-lung (1736-1795). 


Height, 514, inches. 


Licot Brown Casinet Borrie (t2°u-chin-yads.) 


407 

—-# <= Pear shape; Ch’ing porcelain, covered in light metallic cof- 
fee-brown of uniform quality. Ascribable to the period of 

K’ang-hsi (1662-1722). Height, 61/, inches. 


408—MonocnromMe Dark Brown Caré-au-Lalt Crackie VASE 

Biberon shape. Ming stoneware, covered in dark brown 

EX café-au-lait glaze with crackle texture. Seventeenth cen- 
> 


tury. Ming Dynasty. 
Height, 61/, inches. 


Pe oe 
cL try 
< 


iv 
a j 
ee. 
7 
f PA 


Second and Last Afternoon 


409—Wuitt Piterim BorrLe | RG (3 Aron 
Flat gourd-shape, with small handles; pure white Ch’ing | 
2 ie porcelain, with engraved medallions on either side under the 
lustrous white glazing. Era of Ch’ien-lung (1786-1795). 


Height, 71/4 inches. 
410—CrELADON CRACKLE VASE OX ; vA 


Ribbed quatrefoil body with small tusk-like handles. Dense 
semi-kaolinic Ch’ing porcelain, coated in celadon green 
contre; glaze; showing giant crackle in light and dark staining. 
LOS Foot bears blue seal mark. Era of Ch’ien-lung (1736- 


1795). 
Height, 6°, inches. 


f. 411—CrELapon Capinet VASE 


stoneware, covered in celadon green genre, showing brown 
RS stained crackle. Era of Yung-Chéng (1722-1735). 
Height, 714, inches. 


412—Rare Corat Rep Botrrre if i (Shey ae eee 
Pear shape, with slender neck ahd silver-mounted rim; 
Ch’ing porcelain, coated in monochrome coral-red glaze of 
yA 7 B= brilliant and even quality. Era of Yung-Chéng (1723- 


1735). 
Height, 8%, inches. 


va 
413—APPLE-GREEN BOTTLE Tes a \ =A 


Pear shape; Ch’ing porcelain of dense te} ture; invested with 
a rare translucent ‘‘apple-green” glaze of the Lu Lang yao 
.. genre, showing a network of fine crackle and uniform tex- 
em) — ture. Attributable to the era of K’ang-hsi (1662-1722). 


ches. 
x 


Height, 6 in 
414—MonocHROME ere 610. Se 


So-called club shape (p’ing-chih p’ing) ; white Ch’ing i 
ane g ‘~ lain, covered in “mirror-black” (u-ching) glaze of uniform 
and brilliant quality. Without mark. Ascribable to the 
period of K’ang-hsi. 
Height, 8 inches. 


ail aa eee eee, el Wi eaieal 
\ Oo Nye gene Sr ee ar oe Wd Dee oc i 
4 . een at . - on 
: = or =a Se tet 


Second and Last Afternoon 


415—Iron-rust Borris (Tieh-hsui yao) 


Bulbous body, with slender neck, linea 
upper rim. Ch’ing porcelain, coated in metallic brown glaze 

‘ed y) «* with saillant “iron-rust” soufflé (tieh-hsui) flecking of rare 
quality. Era of Yung-Cheng (1723-1735). 


Height, 834 inches. 
From the 8. Bing and Mary J. Morgan Collections. . 


416—EnNcGRAVED WuitrE ANd CEeLapon IN1iAID apt ' ark 


Pear shape, with tubular neck; white Ch 
sustaining a delicately engraved dragon pursuing the ef- 

SC ‘~___ fulgent jewel of omnipotence, enveloped amid nebule, in light 
celadon. Era of Ch’ien-lung (1736-1795). 


ing porcelain, 


Height, 91/, inches. 


/ \ vhs 
\ 
\ 


covered in brown 
ing and iridescent 


417—PorrLE FruamBet BorTriEe 
Pear shape; semi-kaolinic stoneware,/ 
flambé glaze with purplish-gray cloud 
Re Yj “—— quality. Seventeenth century. 
Height, 81/4, inches. 


/ 
a ee Sloe Bow. . | OLG (3 
White Ch’ing porcelain; exterior covered in deep powder- 
blue soufflé glaze of brilliant mazarin shade; with superposed — . 
gold painting, showing rampant dragon in pursuit of the 
AS ‘{__ effulgent jewel amid cloud forms. Foot bears a seal (Hall) 
mark within ring. Era of K’ang-hsi (1662-1722). 


Height, 3 inches; diameter, 81%, inches. 


OC 
419—-CeLapon Jar (Ch’ing-tz’w) Par vie Faerntro 
of Globular shape, with contracted neck. §onorous stoneware 
yA as | ‘— of ferruginous and vitrified texture; presenting a slightly 
raised lotus blossom and scroll motif, together with vines 
and leaf bordering under the pellucid celadon green glaze. 
Invested with vertical brown stained crackle. Ming Dy- 


nasty (1368-1643). Height, 7 inches 


Second and Last Afternoon 


| RIA MAMN 
420—CrELApON GREEN VasE (T'ung-ch’ing yao) 
Oviform, with flaring neck; Ch’ing porcelain, the lower sec- 
,. on presenting relief embellishment in bordered form, 
i ( — with peony blossoms and leafy scrolls, and the neck sustains 
lotus leaf and lanceolated fungi borders in low relief, under 
a uniform celadon green glazing of pellucid quality. Era 


of K’ang-hsi (1662-1722). 
Height, 7 inches. 


421—Licutr GrayisH Mazarin Buvurt Vase 7 Yeats 


Quadrilateral shape (feng-hu), with elephant-head handles. 
7 b °- Massive Ch’ing porcelain, uniformly covered in light grayish 
mazarin blue glaze with interlacement of giant crackle in 


black. Ch’ien-lung (1736-1795). 


Height, 81/, inches. - 


422—-PowDER-BLUE VasE (Bleu ey 


Baluster shape; white Ch’ing porcelain, covered in powder- 
Le § “= blue soufflé glaze of brilliant mazarin tint, showing traces of 
supplementary gold floral decoration. Era of Yung-Cheng 


(1723-1735). (Mended near neck.) 
Height, 94 inches. 


From Captain Brinkley’s Private Collection, Japan. 


423—SeuarE MonocuromMEe CreLapon VAsE 
Quadrangular shape, with round contracted neck and base; 
/ Cae massive Ch’ing porcelain. The sides sustain recurrent cor- 
ner ridges slightly raised, in dentated form, under the pel- 
lucid celadon glazing. Ascribable to the eighteenth cen- 
tury. Late Ch’ien-lung (1736-1795). 


Height, 91/, inches. 


424—Rep Fruampt Vase with CEentRicosE-LOBED Rim 
Covered with a brilliant monochrome red glaze, | showing 


if 4) “=~ flambé flecking at the lobed rim. Era of Ch’ien-lung (1736- 
1795). 


Height, 8 inches. 


AC: mano - 


Second and Last Afternoon 


425—Two Rep Fiamprt Vases nas se ie of / 
Urn shape, with four rudimentary grotesque mask han eS ; 
massive Ch’ing porcelain, covered in red flambé glaze, show- ‘ 
uf ts ‘ing celadon green splashes. Era of Ch’ien-lung (1736+ ( 
1795). Height, 7 inches. 


426—DerrEpr Sanc-pE-BeuF VasE (Lang-Yao) one igs 
Pyriform, with rich oxidized-silver mounting; at rim. Dense 2 
Ch’ing porcelain, coated in the rare mottled red glaze of 
the genre known as “sang-de-beuf” or ox-blood variety, 
ae 0 *— with clotted form of clouding. The underneath foot is 
glazed in light-toned celadon. Date: Era of K’ang-hsi 
(1662-1722). Height, 81%, inches. 


427—Rep Casinet Vase (Haricot rouge) Ure y rae ee es 
-  Biberon shape; Ch’ing porcelain, covered in a soft ~bean- 
fa -- red’ (Chiang-tou-hung) glaze, with slight rose tinge and 
~~ “pear-skin” texture, under the pellucid glaze. Foot bears 
six marks in blue within ring. Era of Yung-Cheng (1723- 
1735). Height, 8% inches. 


{ 


428—Sortr Rep VAsE Se 
Pyriform; Ch’ing porcelain, uniformly covered if/ 
of the genre known as “bean red” or ‘‘Ch’iang-t 
showing a fine pear-skin texture. Era of Ch’ien-lung (1736- 
1795). Height, 914, inches. 


/ 
429—Tatt Sanc-pre-peur Vase (Lang-Yao) Peer Jie {— 
A yi 4 
e ree CL M1 2a 
The rare baluster form; coated in brilliant ‘‘sang-de-beeu SOwr 


glaze of true “Lang yao” genre, with characteristic cloud- 
VR ‘ing passing into ruby-red and deeper tones of ox-blood. 
The upper rim is defined by a line of light celadon and the 
interior is glazed in rice tone, with small crackle. 'The foot 
underneath is technically perfect and displays a_ light 
celadon glaze with a clot of red marking this distinguished 
example. Date: Era of K’ang-hsi (1622-1722). 
Height, 18 inches. 
From Captain Brinkley’s Private Collection, Japan. 


Eye 


(Illustrated—See Frontispiece) 


Second and Last Afternoon 


430—Larcrt MonocHroMeE CoratL-rED JAR 


Ovoid shape with white-rimmed neck, presenting a brilliant 
rouge-de-fer glaze of the coral-red variety of even color and 

ff $G “—_ pear-skin texture. The white panel underneath is without 
mark. Late Ch’ien-lung. 


Height, 12%, inches; diameter, 91/, inches. 


431—Gray Crackle Jar CG Corner 2b 
Ovoid shape; massive porcelain in grayish-white glaze, wi 


Vie 3 A *s giant crackle. Foot bears four apocryphal marks of the 


Cheng-hua period (1426-1435). 
Height, 12 inches. 


s 
“x 4 


432—TatLL PowpeEr-BLvuE Vase (Bleu fouetté) 
Graceful baluster form; white Ch’ing porcelain, covered in 
deep powder-blue soufflé glaze of brilliant texture (deep 
27 U — mazarin tone) with supplementary gold dragon borders. 
Rare quality. Ascribed to the K’ang-hsi period (1662- 
1722). 


434—Larce TuRQUOISE-BLUE ee es 


Oviform, with flaring neck; dense Ch’ing porcelain, co 

in monochrome turquoise-blue (Kung-chua-lu) glaz 

v on .. slight mottling in light and deeper shades. Era of Chia- 
— Ch’ing (1796-1820). 


Height, 16%, inches. 


Height, 24 inches. 
From Captain Brinkley’s Private Collection, Japan. 


Larcr PisTacHE-GREEN VA : Cy bee 


Graceful gourd-shape; Ch’ing porgelajn, covered in mono-. 

/ Nay chrome light pistachio-green enamel of opaque texture and 
uniform quality. Foot underneath is glazed in light tur- 
quoise color. Era of Ch’ien-lung (1736-1795). (Has fire 
crack.) 


435 


Height, 231, inches. 


Second and Last Afternoon 


436—Larer CreLapon Jar (T'wng-ch’ing yooh iG) Me G, "a 4 


Globular shape, with two chimera heads and rudimentary 
ring handles. The body, with raised ornamentation under 
the pellucid celadon-green glazing, showing floral scrolls and 

$e ra g°= Taoist (Pa-an-hsien) emblems, together with borders. 
Shoulder is encircled by a band of swastika fret and circular 
“Shou” symbols of longevity, and the neck shows five em- 
blematic bats (wu-fu) amid cloud and nebule scrolls. Foot 
bears Imperial factory seal of the Ch’ien-lung period (1736- 
E7UD)., 


Height, 15 inches; diameter, 17 inches. 


RHODIAN AND GREEK POTTERY 
PERSIAN, EUROPEAN, CHINESE AND JAPANESE 
BRONZES 


437—Ruopian Ewer ye 


Lindus pottery, with semi-translucent~ white enameled 
ground of stanniferous texture; sustaining typical poly- 
chrome decoration in the form of red and blue palmette 
a blossoms and interlacing in black outlines. Date early 


seventeenth century. 
Height, 9 inches. 


438—RuHopian PLATE Ck Ge aH 


y, Ee ae Lindus pottery in flowered design, with serrated border. 


Date, early seventeenth century. 


Diameter, 9%4 inches. 


439—Smatut Ruyopian PLATE an 
und, sustain- 


Lindus pottery; stanniferous white enam ‘ero 

ing polychrome decoration with ewer and lottis blossom 
*“—_ motif, including a narrow border. Date, early seven- 

teenth century. ; 


Diameter, 8 inches. 


X he 
440—Ruyopian PLATE 


Sustaining bird and flower motif on white ground. Date, 


S2~o early seventeenth century. 


Diameter, 81%, inches. 


Second and Last Afternoon 


441—Ruopian Piate 
Sustaining figure and lotus m ff on/white ground. fr 
pee seventeenth century. 


Diameter, 81% inches. 


442——RuHopIan PLATE Xe Crus, 


Lindus pottery, with stanniferous white enamel 
y DE sustaining a conventional red and blue blossom 
“ motif, sows cowverte. Early seventeenth century. 


Diameter, 12 inches. 


443—Prrsian Porrery Tite (a™ Jem mt aodace 


With stanniferous white enamel, sustaining an interlaced 
/ asf motif in rich blue and light golden-toned reflet of rare qual- 
ity. Sixteenth century. Ebonized wood frame. 
5 by 5 inches. 
S & 
444—Two Framep Inpo-Prerstan TILEs 
Vitreous glazed pottery, with polychrome decoration, show- 
ing three figures on deep cobalt-blue ground, together with 


— ree! : 
ae serpentine corners. Seventeenth century. 
8 by 8 inches. 


445——Larcre Framep Persian TILE F = : 
Vitreous glazed pottery, with polychrome decoration, rep- 
& lati? resenting dancers performing before a Shah. Seventeenth 


Se CENUITY.. 
© Ge A) bi. 
ean, Bow. 


446—GREEK-Erruscan 'TERRA-COTTS 

3 _~« Light ground, painted with berder motif; involving three 

$ — steers and three figures. Third to foun century. 
( Mended. ) 


Height, 31, inches. 
nn : u & 

447—SmMaLuL GREEK TERRA-coTTA Ewer 
Black glazed ground with red panel, showing figure and 


| ei §@ stand with ewer. Fourth century. 
mae oF Height, 4 inches. 


Second and Last Afternoon 


448—Smatu GREEK TERRA-COTTA een Van. g. kL 


Black glazed ground, with panel, shavane y running figure. 
oe, «““___ Probably intended for Phidippides, the “fleet Marathon 


runner. Fourth century. 
Height, 41, inches. 


449—Greex-Erruscan Trerra-cotta VAsE ) J x Vp ae 


Mh 
; Amphora lekythos; with one handle. Decorated wjth Athen- 
/ 20 ian warrior holding shield on light ground palm-leaf and 


scroll, including bordering. 
ibe a 6 inches. 


2 Z 
450—GreEk-Erruscan Trrra-corta Vase \ pe pone oY LE GA. 


Amphora-shaped lekythos with one en Pajhted eee 
4 .: hon, showing Grecian figure on olive ground. Wola speci- 


~ men. Third to fourth century B.C. 
Height, 6%, inches. 


451—GRrEEK-EtTruscan TrErra-cotra BotTLe | ga. Yk O., 
Graceful shape, with one handle. Brown glazed body, sus- Y 
a ~—. taining borders and the figure of a Grecian lady holding 


fan. third to fourth century. 
Height, 7%, inches. 


452—Greek Trrra-corra Mortuary VASE = - ( 


With two handles; decorated with recurrent red bands, and 
Jtse _ showing incrustation of earth from long burial. Fourth 


century. 
ie 584 inches. 


453—GREEK-ETRUSCAN TERRA-coTTa VASE 
oft blac , adhe 


Oinochoe or wine Jug. With two handles; s 
uf ect e painted with warriors in combat; reverse, with a single fig- 
“are and small border in pale red. A Nola specimen of the 


second or third century, B.C. 
eokeai 121/, inches. 


454—Greek-Erruscan Terra-cotta VAsE eagle 4 Cael 
an 


: Oinochoe; black ground, with two handles painted 
7d e+ panels showing three figures on each side. ‘Third to fourth 


ia century. 
Height, 6%, inches. 


Second and Last Afternoor 


a Ei Bete s ; i , 
| | 7 a 7 Ch 
455—Licur Trerra-coTta ‘TandckaA Ficurtne | . 
_.. Representing a seated Athenian boy, with mask. Hellenic ~ 
3 5 8s Mperiodes.C) 
Height, 6 inches. 


456—Licut 'TERRA-COTTA i ele 


Representing a walking Athenian lady with palm-leaf fan 
held up. Hellenic period, B.C. (Neck repaired.) 


3 = ; eight9 inches. 
: ad: fe 


457—Licur Trrra-cotra TanaGra Figurine 
Representing a seated Athenian woman, with flowing robes; 
( Cece showing the remains of color on hair and folds. From Cen- 


tral Greece. Hellenic period, B.C. 
Height, 714 inches. 


EcypeTiAn ALABASTER VASE ik Wan ew Te 


oY 4 Ampulla shape; prehistoric per éd Ke to III Dynasty 
[oo B.C.). | 
—_W 


459—Eeyprian ALABASTER VASE Aree é 


Ampulla shape; II to IV Dynasty B.C. 
Y Bie we We Height, 5 inches. 


460—Ecyrpttan Bronze Usnasti Ficuxtgc YL 
Representing “Mut,” Mother of Zeus Am’mon, or the Ma- 
ternal principle. Green patina. Type of the Nineteenth 
Bow Dynasty (?) (About 1400-1280 B.C.). Has wood base. 


458 


- 


(/ 


—, 


461—EeyrtTiAn ScuLPprurep B TONE Fictr 


Representing the “Priestess Ammon Ra,” with inscription 


ue 0 «* on back reading: “Say a Prayer to Oseris Am’mon of Thebes 
for an offering to Wapu” (Lady of Reverence). Type of 
the Nineteenth Dynasty —_— B.C.) 


C4 


With steel mounting and floral painting. Early ninet 


f ME o© century. | 


Height, 11 inches. 


462—Rounp AMBER SNUFFBOX 
enth 


Second and Last Afternoon 


463—SNnvuFFBOXx Cr onihey 


Mother-of-pearl, enriched with carving ree Nep- // 
tune, nymphs and other mythical figures riding on sea- 

~ lh, << horses or dolphins. Mounting of gilt bronze. Early nine- 
teenth century. 


464—CrystaL Quartz SEaL pee ELL aes 


In form of a crowned bust. French. “Eighteenth century. 
Vi) ad Height, 2°/, inches. 


465—-SmautL Frencu. Limoces ENAMEL 


’ Oval shape, with figure and cupid design; enameled dial. 


Se ieee Eighteenth century. 


( ‘ae 
466—Limocrs Enamet Ewer ) (7 (/) VA 


. With griffon-shaped handle; curve y bi ee 
C Ge dallions, representing a Bacchanalian féast: Venus, Nep- 
4 > tune, and Fauns, together with arabesque scrolls. Eigh- 
teenth century. 


Height, 7 inches. 


467—Perrstan Repoussk S1tver Cup a Sau gn 
SOXSO_ ( 


ae 468—-East Inpran Sitver Fiticree Box VY 
So Tall ovated shape, with openwork borders. re wT ey 
Pp p 


Heit, 31, by 2 inches. 


469—Perrsian Firticree Pire i? 
w 
iz Silver stem, with amber mouthpiece. im 
/ AL eee Length, 6 inches. 
tn 
470—East Inpian DacceEr Che \tpnnkee f AP, 7 


7 ded BL 
f 


| 


/ 0 ne ee Handle and end scabbard richly ornamented th silver and 


gilt filigree work on shark-skin in lotus scroll design. 


_. Length of blade, 11 inches. 
f) 


471—Smauu Iron Marcupox LD A, UT VAMA 


a 
—— 


Persian; with gold damascening in arabesque design. 


Second and Last Afternoon 


4'72—-SnNUFFBOX NA eis i hd . 
ey 5? Oval shape, with silver and gold niello work in scrolling 


arabesque design. l U 


473—Iron SNUFFBOX bas eae ¢ | 
poe. Oblong; with round ends; gold inlay in medallion and ara- 
besque borders. Silver-plated interior. 
, u 
474—Spanisu Sitver Snurrnox ~~ 
[a Ornamented with niello work in arabesque design. 


Cy 
475—S1LvER SNUFFBOX - ¢& 


foe 5% With silver niello medallion and clasp. 


476—Perrsian Inuaip Metan Tray & ¢ ‘ 
Richly damascened with gold, silver in arabesque and bor- 
226% der motifs, including vignettes with “Neshky” inscriptions. 
: Sixteenth century. | 
' Diameter, 181, inches. 
47°7—LarcrE Srvres Porcetain VasE 
Qry Tapering oviform, with tortoise-shell brown soufilé glaze, — 
including ormolu mounting at the base. Nineteenth cen- 
CUTTY. 


478—Larce SEvRES PorceLain VAsE ws rd. 


Monochrome lapis-blue (bleu-de-roi) glaze; oviform, 
" /) ‘s mounted with ormolu bronze, including two chimera-head 
handles. Nineteenth century. 


ale Wie 29 inches. a 
479—Smatt Barve Bronze: Runnrine Evreruant ~RACmAY a = 


Cog «« In golden colored patina, from the Paris Exposition, 1889. 
Height, 6 inches; length, 714 inches. 


480—BarvE Bronze Group: “Strac nes toric 
Brown patina. Cast by Barbédienne (1889). 
(Get Height, 81/, inches; width, 14 inches. 


Purchased direct from Barbédienne, Paris. 


eight, 25 inches. 


Second and Last_Afternoon 


481—Baryvr Bronze Group: “PANTHER SEIZING STac”’ 
Cast by Barbédienne, Paris (1889). 
e e 
1 O 0 —— Height, 14 inches; width, 22 inches. 


Purchased direct from Barbédienne, Paris. 


CHINESE & JAPANESE BRONZES 


482—-SinrvER NETSUKE lr e t 


3 ~ Wrought in the form of an articulated skeleton. Made by 
? Kazu-taka. Eighteenth century. 


483—Buiacxk SHaxupo Bronze Saeed a 71 

In miniature form, representing a turtle; bearing a gold in- - 

VEU laid seal mark. Made by Kikuoka Mitsuyuki. 
oe 


o 
. 


484—Smatt Japanese Bronze Turtie (Okimono) a Aun od 
a Cast by “*Seim-min.” a 
Length, 2°, inches. 
: © | 
485— JapANEsE Pipe (Kiserw) 3 EEG Va 
7 Of silver, embellished with ‘“‘kiri-crest’”’? emblems. Bae 
Length, 8 inches. 


486—JapanEsE Pree (Kiserw) a le 


Of shibuichi bronze, with gold-incrusted figures and land- 
ayes SeAPe- 


q 


Length, 8° inches. 


&- 


487—JAaPANESE Bronze PANEL 
Fan shape, with engraved figure of a Buddhist priest. Nine- 


Uh ee teenth century. Signed: Sho-Min. 
314% by T4, wmcehes. 


488—JAPANESE Iron PANEL y 
Incrusted with two bronze monkeys on stump of tree, and 


[oie 4 showing cherry tree with silver buds. Nineteenth SA 
Pe —Signed: Sho-Min. 


Os ag 1 
( / 


5 by 7 inches. 


Second and Last Afternoon 


489—Ox1p1zEpD SILvER INcENSE Box 


15 3m Its cover is richly damascened and inlaid with gold in 
yi 7 — chrysanthemum flowers. The sides executed in form of a 
‘“fukusha” or “presentation cloth,” in silver, sustaining 
diapered cherry blossom patterns. Has interior of silver 
and bears seal mark: Koyosai, Yei-jiro. An exposition 

piece of distinction. 
Height, 1%4 inches; width, 34%, by 3% inches. 


490—JaAPANESE SILvER IncENsE Box 14 ; 


With openwork cover; engraved ornament, with gold and 
1h eke shakudo peony flowers, fitted with two rings and extra in- 
: terior tray. 


Height,2Y, inches; width, BY, by 2%, inches. 


491— JAPANESE SILVER CENSER, 


Form of a pheasant with delicately chased plumage. Late- 
eighteenth century. iat 
’, ost Height, 314 inches; length, 11 inches. 


CLOISONNE AND OTHER CHINESE ENAMELS 


/492—Smatz Crorsonné Examen Cup Re AAWK_. 
With turquoise-blue ground, sustaining blossoms And leafy 
scrolls in light polychrome colors. Chien lub period 

as (1736-1795). : 

can Height, 1 inch; diameter, 21% inches. 
493—JAPANESE SILVER CLoIsonné EN 


Foliated shape, with chrysanthenYum and scrolled design 
on grayish-green ground. Interior of silver. Bears artist’s 
flowered mark. Nineteenth century. 


Height, 114% inches; diameter, 314, inches. 


494—Prxinc EnamMet Tray tn i 4 


Presenting a yellow ground, with blossom and scroll orna- 


( ee ei 


Diameter, 6 inches. 


Second and Last Afternoon 


495—CrLoIsonNE ENAMEL Cup-sTAND ae tah 
Lobed form, with turquoise-blue ground. Ming type, sus- 
taining floral motif and leafy scrolls in polychrome colors. 
/7@ Era of K’ang-hsi (1662-1722). 


Height, 31, inches; diameter, 51/, inches. 


: oar 
496—JaPANESE Bronze PERFUME Box de i Oey ee 


Pouch form, wrought with shakudo and gold, upper section 
presents image of Rishis and Shinto shrine; lower section 

pigta is of red bronze, with gold dragon embellishment. Interior 
plated with silver. Nineteenth century. 


497—CHINESE BronzE VASE Or ; 


Miniature beaker shape, with golden brown patina; raised 
ps2 gold details. ‘The everted neck presenting storks among 
— cloud patches, while the middle segment depicts landscape 
view, followed below by fishes midst waves. Date, early eigh- 
teenth century. 


Height, 5 inches; diameter, 3 inches. 


498—JapANESE Bronze OximMono Meg ae. 


vy, J *“—_ Representing Kwan-non, the Goddess of Mercy, with flow- 
ing tunic. Brown patina. Cast by Tei-go. Early nine- 

teenth century. 
Height, 51% inches. 


499—-ArTICULATED IRoN Crab Thr Se 


Unique example of Japanese metal work (attributed to Mio- 


ge «s chin). Seventeenth century. Natural size. 
Length, 9 inches. 


z Sc Seer ig 
500—JaPaNESE BronzE CENSER Y-& hay. 
; Ovated shape, with upturned handles and open“base. Its 
oes lid, with pierced details, shows leafy scrolls. The sides, 
with sunken panels, present archaic arabesques. Date, eigh- 


teenth century. 
Height, 434, inches; width, 5 by 3 inches. 


Second and Last Afternoon 


Ji RA: 
501—JapanrEse Bronze INcENSE Bex” YD f Wnrn_a__ 


Square shape, raised on four feet. and with Wo tiger-head 
handles. The obverse and reverse sides display sunken 
“<* dragon panels and the cover is surmounted by a kylin. 


Height, 5°4 inches; width 3%, by 21% inches. 


502—JapanEsE Bronze Tripop bpesnk YL < 
Hexagonal shape; the six sides sustain raised panels with 
( ¢ Wave pattern. Pierced cover in cloud forms, surmounted by 
b a kylin. Mark: Toun-Sai Heishi iru. Early nineteenth 
century. 
Height, 6 inches. 


—.__ 


503—CuINESE Bronze CENSER (>. Via heen 
Round form, with beaded bordering; raised on three feet. 
ye “_'The cover is surmounted by a “Dog of Fu’; golden olive 
patina. Bears a Ming seal mark, of the Hsuan-te period. 
Has teakwood stand. 


Height, 3%, inches; diameter, 51/, inches. 


504—Cumsgse “Sun-spot” Bronze Shes: O Pe 


_ With two small loose handles; massive yellow-textured 
ji is *“—pbronze, with golden “sun-spot” marking. Bears (apocry- 
phal) incised Hsuan-te mark. Ming type, of the seventeenth 

century. With bronze stand to match. 


Height, 514 inches; diameter, 51/4, inches. 


505—JAPANESE Bronze Onna 


ie ff ew Figure of a sage with crane. Ninetee 


h century. 
Height, 11 inches. 


506—JAPANESE Bronze Oximono (3 7 | he 


Group of two turtles. Brown patina. 
[hee 
507—JAPANESE Bronze CENSER 


Form of crab, finely modeled\ and cast by Ke Date, 
y, o— SY _ about 1820. 


eight, 4 inches; width, 8 inches. 


Height, 424 inches; width, 81% inches. 


Second and Last Afternoon 


* VA 
508—JAPANESE Hexaconat Bronze Vase ( ¢ Corbeau 


With spreading neck. Showing two raised pheenix (howo) 
birds and floral sprays on diapered ground. Lower section 

5 “— with escalloped sides. Light patina. Bears incised mark. 
Cast by Toun-Sei. Early nineteenth century. 


Height, 61, inches; diameter, 514 inches. 


JAPANESE BRONZE sae (abi) nrg 


In two sections. Body in globular form, with dr a rca 
f Fo in free relief. Resting on bronze base, with open clotid forms. 
Early nineteenth century. Bears incuse mark. 


509 


Height, 51% inches; diameter, 71%, inches. 


. ees, 
ty Y 
510—JaPaANEsE Bronze Hanecine Vase vi © ee kee 


Curved in form of a fish. 


Go “— Length, 12 inches. 


/J 
511—JapraneEsE Bronze CENSER aS Hortery— 


In form of mandarin duck, with finély chased plumage; 


C6 3 X 
J ~— brown patina. Date eighteenth century. 
Length, 51/, inches. 


512—JAapPANESE Bronze Koro-BrAZIER ak VA ae 
Globular shape, with cover and top handles; massive cast- 
ing, showing chrysanthemum blossoms and leafage, deeply 
> g ge chased. Bears incised mark; made by Kin-saisei. Early 
LY — nineteenth century. 


Height, 5 inches; diameter, 8 inches. 


513—CnineEseE Bronze CENSER PR 
C) ae With reticulated bronze cover to match. ‘Body in massive 
form, with bamboo springs and leafage in relief, including 
small feet and rim handles. Soft light patina. Bears 
Hsuan-te mark. Ming Dynasty; probably reproduced dur- 
ing the K’ang-hsi period (1662-1722). 


Height, 8 inches; diameter, 9 inches. 


Second and Last Afternoon 


514—_JapaANESE Bronze Vase ey: ey 


Oviform shape, with everted neck and two tubular handles. 
/ 8 The body sustains archaic fret and descending leaf-shaped 


borders. ‘The patina showing an olive-brown tone. Date, 


eighteenth century. Try ( Height, 10 inches. 
AN 


515—Larcre Japanese Bronze Oximono 
Censer, in form of a grotesque “Dog of Fu” on rock. Cast 


Yb oe by Gido (1830). Height, 111% ae width, 12 inches. 


516—JapanesE Warrior Iron Mask) a ¢ phate. - 
The forehead bears the mark Jikoku-ten (one of the Shi 
OF *“_tenno) ; another mark under the chin reads: Made by Myo- 


chin of Yedo, a great armorer of Japan. Date, seventeenth 
century. 


« 


517—CoLLEcTION oF THIRTEEN STEEL Go -HEADS 


3 «. in Yassaghi-ha Wata-Kousi shapes, with pierced and 

oe ~ wrought openwork, showing ideographic dragon and blossom 
designs ; some being dedicated to “Hachiman Bosatsu” (the 
God of War), others to Marishi Ten (another God of 
War, or Deva); “fone willow leaf” arrow-head bears “Bud- 
dha’s Prayer” (Namu Dabutsu). Inscribed by different 
makers, including Fuji-wara Tomotada and Ukiharu and 
others. Sixteenth to seventeenth century. - 
Japanese Double arrow Rack, for above. Folding form, _ 
enriched with gold lacquer. Eighteenth century. | 


eke 23 in 
518—Larece CircuLar JAPANESE MM, a0 


5s in! Of iron, ornamented with a group of alls onze ee 
esp —two large apes with copper-red faces and shibuichi bodies 
are examining a kakemono scroll upon which appear a & 


demon and imp, wrought in relief with gold and shakudo 
inlaying. The smaller monkey is clothed in a gold-brocaded 
jacket, and appears to be attracted by the scroll and its 
parent, which holds a pair of eyeglasses in judging the 
merit displayed in the kakemono. This panel bears the 


name and seal of Tomo-nage in gold relief. 
Diameter, 26 inches. 


Second and Last Afternoon 


| eee 4 
519—CninEsE CLoisonNéE ENAMEL VASE 


Oviform, with lotus flowers and leafy ane | in ogee Ww, ae 
nas and deep blue on turquoise-blue ground. The Ider is 

; Ah © —~encircled by a yellow border, with Buddhistic emblems of 
Happy Augury. Early eighteenth century. Ming type. 

Height, 10 inches. 


520—CuinEsE Cioisonné Enamet TRIPop-cENSER ye 4 
Globular shape; with bronze openwork and cloisonné cover, 
by: showing bats and “Shou” emblems. The body, with dark 
Si co as —hlue lanceolated border, sustaining Buddhistic symbols, leafy 
scrolls and bats on turquoise-blue ground. The contracted 
neck is finished with upstanding handles, and the three 
cloisonné feet show gilt bronze masks and bat forms. Eigh- 


teenth century. Has teakwood stand. 
Height, 13 inches. 


AMERICAN ART EAGLES 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


r 


e Ps 
a, 


z = 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


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OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


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